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THE 



LANGUAGE OF THE EYE: 



THE IMPORTANCE AND DIGNITY OF THE EYE AS INDICATIVE 

OF GENERAL CHARACTER, FEMALE BEAUTY, 

AND MANLY GENIUS. 



By JOSEPH 'fclTRNLEY, 

AUTHOR OF PRIESTCRAFT AND THE MONARCH OF THE MIDDLE AGES, ETC. 



WITH ILLUSTRATIONS BY GILBERT, ANELAY, ETC. 



LONDON: 

PARTRIDGE AND CO., PATERNOSTER ROW. 

1856. 



■nil" ai-tiioi: i;i:si:i:\i~ tiii. i:k;iit or translation. 



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LOUDON: 
PRINTED BY A. P. SHAW, DEYONSHIRE STREET, BISHOPSGATE. 



TO THE RIGHT HONOURABLE 

THE EARL OF ELLESMEEE. 

My Lord, 

I knew you to be a friend and lover of learning, 
and, therefore, I sought the honour of dedicating these 
pages to your Lordship. I beff to than k you for the 
permission, and may observe, another fact emboldened 
me to seek that favour, — viz., the circumstance of your 
Lordship being President of a Literary Society of which 
I have the honour of being Vice-President. 

I have endeavoured to preserve the substance and spirit 
of the subject, and yet write in an untechnical manner ; 
but you will not be surprised, that in this attempt I have 
met difficulties I have only partially surmounted. 

Permit me to express my deep respect for your Lord- 
ship, and to subscribe myself, 

Your Lordship's 
Very obedient humble servant, 

JOSEPH TUBNLEY. 

Manor House, Norwood. 

Uth Feb. 1850. 



CONTENTS. 



The Importance op the Eye 

Light and Colour 

Motion and Shape (with Illustration) 

Physiology of the Eye (with Illustration) 

Comparison with the other Senses 

General Expression 

National Expression 

Expression of the Sexes Compared 

Expression, as Indicative of Character 

Eye-brows 

Poet's Imagery 

Genius (with Illustration) 

Hope (with Illustration) 
Innocence; or, the Eastern Eye (with 
Love (with Illustration) 
Sorrow (with Illustration) 
Imagination (with Illustration) 
Dignity (with Illustration) 
Resignation (with Illustration) 
Beauty (a Sketch) 
Appendix 



Illustration) 



Page 

1 

4 
11 
14 
25 
38 
42 
46 
57 
69 
73 
91 
94 
96 
'Hi 

101 

103 

105 

107 

110 

117 



€§t % anguagt nf tjre dftp. 



CHAPTER I. 

THE IMPORTANCE OF THE EYE. 

This world is a state of probation, in which, by the 
faithful exercise of the mind, we may gain a glance of 
some of the beauty of the world to come, of which 
things present have many similitudes fully distinguish- 
able by the ingenuous philosopher, as evidences of some 
great truths. Perhaps there is no part of our nature 
so much engaged in detecting, evincing, and developing 
the beautiful as the eye. This is the guard ever waiting 
at the gates of the palace of the brain. This is' the 
privileged officer, who is allowed to bear the important mis- 
sions between the worlds of action and reflection. This 
organ is the faithful mirror which reflects the drama of 
time and things, for the information of the unseen divinities 
inhabiting materialism : its shape and action, its place 
and power, are all most interesting subjects of con- 
sideration, and shall have their share of our attention. 
We shall endeavour to pourtray some parts and powers of 
this mystic inlet to the brain ; but who can say how the 
cattle on ten thousand hills, the varied hues of the myriad 
beauties of creation and art, are permitted to place their 



THE LANGUAGE 



portraits and similitudes in the brain ? by what devious 
path, and by means of what extatic velocity, do they ap- 
pear there, giving place to each other with an order and 
rapidity far exceeding thought, or, perhaps, the meteoric 
light of heaven itself? Whence all this ? The refine- 
ment which the mind attains, when occupied in the study 
of the laws of nature, may partly qualify its owner to 
appreciate in contemplation the varied habits, exercises, 
and employments of this wonderful organ. Its capacity and 
delicacy, its mobility, the peculiar softness of the nervous 
system which surrounds it, are altogether wonderful, and 
form part of the many exquisite alliances which aid in 
sustaining its ever- varying sensibilities and powers. This 
is of all the senses the most reflective and powerful ; by its 
rapid agencies man principally acts and thinks, and 
through its channels pass influences more numerous than 
the sands of the sea- shore, — influences which are as sparks 
of eternal light shining amidst kindred glories. By the 
aid of this acute sense, man is enabled to act amidst the 
social throng with order and excellence ; through its 
agencies his imagination is captivated, his affections 
secured, and an irresistible and seductive influence con- 
summated over his will, his judgment, and every attribute 
of his nature. He yields without constraint even to the 
impulse of the moment, and seizes the exact time for 
observation, whether urged by accident or meditation. 
There is an acquisitiveness and a retention, an arrange- 
ment and a distributive ability, which create no confusion, 
and encounter no opposition. Through these portals 
fair Truth makes her first advance ; timidly she peers in 
to regard the majestic regalia of the dominions of thought. 
Yes, that angel, Truth, enters, to whom distance is no 
hindrance ; for she can fly on the wings of the morning 
or the trembling shadows of night. From the fringed 



OF THE EYE. 



windows of this haughty 'mansion may be seen the 
panorama of nature, the distant hills tinted by the 
gorgeous colours of Apollo's chariot. 

The wan moon leads her glittering courtiers forth, to 
cast their dazzling glories on the painted windows of the 
palace of sight. Nor does the leaden hand of sleep 
subdue all the powers of this organ. Over its beauteous 
orbs, there falls a constant and unceasing stream of dewy 
moisture, to lubricate their action and preserve their 
brilliancy. No cuirass or golden helmet, lit up with 
morning's earliest rays, not even Orion, or great Arc- 
turus, or the silver Pleiades, in all their glory, could vie with 
vision's light. This mystic presence of divinity has no 
parallel — exceeding all of nature and art. It is, therefore, 
important to endeavour to understand its nature and 
philosophy. Our inquiry will sometimes appear technical 
and narrow ; yet we believe a close examination of any of 
the paths and habits of nature is most profitable, and the 
study of them will yield many proofs of the harmony of our 
nature with the economy of the physical world and our 
own happiness ; that such investigations tend to create a 
love for order and virtue, and that destiny of which we 
are informed by revelation, and the noblest forms of 
philosophy. Casting aside the indifference which some 
are content to assume, let us delight in the investigation 
of those truths which refer to our own nature and its 
dependence on the laws of Providence. 

Then the low world in measured motion draw 
After the heavenly tune, which none can hear, 
Of human mould, with gross unpurged ear. 



H •: 



THE LANGUAGE 



CHAPTER II. 

LIGHT AND COLOUR. 

Some of the most delightful sources of information and 
excitement may be traced to the influence of light and 
colour, both which are deeply connected with our subject, 
and claim some observations. 

Light and colour have an inherent beauty appreciable 
by the senses, and we may regard the expression of their 
beauty as best communicated by a state of tension of 
radii or illumination, which is not so vivid and corruscating 
as to cause pain or distraction, but sufficiently golden and 
mellow to avert any fear of darkness or deep shadow; 
for, as the natural love of life and the consciousness of 
existence aid in the prolongation of life, so one of 
the primary elements of life is light; indeed, to render 
any object beautiful, it must communicate sentiments of 
pleasure to all the senses. The eye is pleased with means 
and images which promise pleasure to the touch, and the 
ear with sounds which indicate the approach of objects 
pleasing to the eye ; and, when the qualities most pleasing 
to the senses are combined, they express the highest 
social affection, and compose an object of perfect beauty. 
There is a certain order and arrangement of shades or 
shadows, in which different blendings and modulations of 
the rays of light are said to fall on the eye from every 
object it sees, and which create those pleasing vibrations 



OF THE EYE. 



of the optic nerves which serve to inform the mind con- 
cerning shape, distance, and character of all objects in the 
material world. We often speak of such a colour being 
beautiful, when we only mean that a pleasing sensation 
has been produced by a correct combination of colours ; 
perhaps, such feelings scarcely admit of argument : yet, 
we believe, some connection or mixture of colours is some- 
times absolutely offensive to the nervous system, whilst 
others are pleasing and stimulating ; for instance, a mass 
of red with bright blue lines drawn across it, is so offensive 
that the primary pain may be compared to the offences 
sometimes given to the palate. It is true some of this pain 
or pleasure may be traced to association, which sometimes 
becomes most intense and operative. We must stay here, 
as we are on the confines of metaphysics, and will avoid the 
snare. Nature needs no sophistry or flattery, but is ever 
ready to tender her loveliness and imperishable charms to 
the virtuous and worthy. Her golden and silver radiance, 
with her soothing company of shades and shadows, are 
ever presenting themselves for occupation and the delight 
of association. What would anger be without shade, or 
love without light, or hope without colour ? what would 
all these be without the waving lines in motion adapted to 
the expression? The artificial would totally extinguish 
the light of true beauty, and hide its excellence with 
dyes, oils, and cosmetics ; they fear to trust their figures 
and faces to kind Nature, lest she should curtail them of 
some of the features of beauty. To such, a voice has said, 
— Go, thou fool, ask the rivers and counsel with the sun- 
beams ; look in the rampant cataract, listen to the whisper 
of the breeze, and watch the hills decked with morning 
light or noontide rays. " Consider the lilies of the field, how 
they grow ; they toil not, neither do they spin : And yet I 
say unto you, That even Solomon in all his glory was not 



THE LANGUAGE 



arrayed like one of these. Wherefore, if God so clothe the 
grass of the field, which to day is,. and to-morrow is cast 
into the oven, shall he not much more clothe you, ye of 
little faith ?" 

When the fair one is content to trust to Nature, she will 
be a bright monument of loveliness and beauty. Then 
will that raven hair hang as a dark cloud on the fair brow 
of morn, and her form shall move, her slender figure wave, 
like some light cypress when the merry winds carol midst 
the yielding boughs and wake young Echo from her 
noontide lair. Then shall light dart through the young 
eye-lash and steal away to melt in many a heart. Then 
will life be an impassioned dream of innocence and truth ; 
the fairy foot shall press the earth as sighs of evening hour. 
Then shall the virgin hue and pleasant shade be loved, 
and light, that one apparition of divinity be adored ; it 
shall appear to clothe the silver moon, the billows of the 
west in all their shadowy glory, and many a ray shall play 
in dimpled joy on crystal rivers' tide. Sweet light shall 
couch by flowery sapphire and blue violets, and dance with 
jocund joys where the white daisies tesselate the mead ; 
then memory shall illuminate itself — turn out its store of 
images bright as at their creation ; then shall the soul 
arrange its myriad hues of by-gone time ; dwell over the 
glory of the spiritual scene, until, in extasy and grateful 
joy, a voice shall shout, — " How beautiful is Light." 

The great authority on the doctrine of light and colour, 
was the renowned Claude de Loraine, who said the sky 
always graduates one way or the other, and that the rising 
or setting of the sun evinces the beautiful blending of 
colour beyond all other natural appearances. He observed 
that, in animated nature, the colours seen in the peacock's 
tail yield the painter's gamut. He also refers us to the 
three colours seen in flames of fire and the seven colours 



OF THE EYE. 



of the rainbow, as ever yielding sweet entertainment to 
the eye. 

The colour which seems to realize most pleasure and 
satisfaction, is a certain mellow amber colour, as seen in a 
serene evening sky, which appears expressive of congenial 
warmth, and favourable to the cultivation of passion. 
Sunset is the medium between red, which implies the 
violence of heat, and blue, which expresses coldness. 
Dante's Inferno explains the horror of this blue light, 
which generally prevails when the features accumulate a 
greater degree of shade, and assume a gloomy expression. 

In silence roaming round the world of woe, 

Guided along by that malignant light, 

That less than morning seem'd and more than night, — 

Pale, gleaming from the frozen lake below. 

Dante. 

Whilst gentle tones of colour dispose to the refined and 
delicate feelings ; and some of the pleasures of life, and 
even the health of the body depend on the harmonious 
regulation of the light in which the body moves. 

Miss Landon, in the Forget-me-Not, explains this light 
as seen in water : — 

Long gazed the Countess on the lake, 
And loved it for its beauty's sake. 

Notwithstanding the enthusiastic endeavours of the 
ancient masters to exalt the characters of their deities far 
above human, they were only able to give them features with 
that contour of beauty which is ever developing itself, in a 
much higher and more animated degree, in the fashion and 
countenance of woman. The chief difficulty which the 
sculptor was ever encountering was in his effort to supply 
expression, which the light of the living eye can alone yield. 
The studio of the experienced painter would exhibit many 
efforts he once made to resist the great teacher of all art 



— viz., Nature ; and, that at last, he discovered the expres- 
sion of life, or rather its imitation, demanded that disposition 
of colours and shades which appear distinctly varied, but 
are yet meltingly united. But mighty Nature passes 
all rules of art, and presents lights and colours which 
defy imitation. How often has the sculptor sighed, when 
he has attempted to represent the organ of sight ; he has 
hung over his excellent work, and sorrow has beclouded 
his intelligent face, whilst remarking the immeasurable 
distance between nature and the highest work of art. 
The life of the eye, and that veil of light in which all 
nature moves, cannot be imitated, nor its absence com- 
pensated. The loveliest country fails to charm until light 
and shade play over its bosom. The most perfect fair 
one of the daughters of Eve would be even an ungraceful 
object without the complexion which light and shade 
supply; indeed, if the skin of the darkest negro was 
entirely removed, he would not be less gracious to the 
eye than the finest form subjected to the same opera- 
tion. We know one of the purest sources of beauty may 
be traced to the godliness of light and its ancillaries — 
shade and colour. Even slightly serated or rough parts on 
the face will intercept the effect of light and shade, thereby 
evincing how subtle and delicate is the influence. This 
reminds us of Mr. Dryden's epistle to Sir Godfrey Kneller, 
wherein he describes the light and shades of the human 
countenance ; and, at the end of his incomparable letter, 
or essay on light, he says : — 

Where light to shade descending, plays, not strives, 
Dies by degrees, and by degrees revives. 

When the mind is tranquil, and all the sweet sensibilities 
of our nature are awakened, we acknowledge the glory and 
indispensability of light: then we are followed by an 



OF THE EYE. 



enchantment, and the very spirit of loveliness seems to 
enfold us in its mystic charms. In how many paths does 
light in its greatness travel ! it moves through spheres 
illimitable, attended by its wondrous train of radiances, 
shades, and colours. In the bosom of the dropping cloud, 
which heralds gentle Spring and veils the beauty of the 
hastening year amid ten thousand mirrors of pellucid light. 
It is sweet Spring ! made glorious by the godliness of 
light, she rejoices in her new-born freedom, and bounds 
forth from the icy womb of nature decked with myriad 
spangles of light. Soon Summer comes, stepping in con- 
fidence, and hand in hand with many fair companions she 
proudly marches through wide fields of ether and unfolds 
her sunny wings of light, whilst the attendant hours paint 
every floweret's form with varied hues. Some as fairies in 
a sunbeam dance, and some in golden blushes smile ; some 
pace a kingdom of fire, through which the fanning breezes 
play; some in the dark green grass overshade their 
rounded forms, and thus the graces all enfold this gift of 
God — the boon of light. Quickly is seen the russet robe 
which golden Autumn wears; it is broidered over with 
many a fervid light direct from Heaven's great palaces. 
It is the garment given by the Creator, and midst its 
course are burnished lamps or forms like diamonds 
shining, far as the eye can shoot around. Soon comes 
the sacred seer, cold Winter's form ; he too is clad in 
light, and round him bend the trembling children of the 
forest in his pure livery clad, glistening like the eyes of 
love. His glassy palace, with parian domes, and silver 
spires, and alabaster " terrace high uplifted," shines with 
forms bright as the seraphim which leads him to eternity. 
Aladdin's cave yielding beneath the starried jewels of 
Eastern magnificence, would be but dreariness beside the 
glories of this one apparition of Divinity. 



10 THE LANGUAGE 



But what is the light of the lonely sea ? 

Thou glorious mirror, where the Almighty's form 
Glosses itself in tempests. 

Childe Harold. 

All time, all place, display their radiant being to declare 
the love of their Creator. The stars have left their ebon 
dome ; the moon's unclouded grandeur is now spent ; the 
eye-lids of the morn now ope. Yes : 

Morn, 
Waked hy the circling hours, with rosy hands 
Unbars the gates of light. 

Paradise Lost. 

Then merry day vaunts with gallant foot, and every 
step is streaked with the glory of light ; the wild deer 
trips from snowy height by mountain's misty top to glassy 
font, and high impassioned joy fills all the world, whilst 
many a hymn of praise records the loveliness of light. Even 
the dying splendour of the sun which gilds the towering 
clouds, over which the hours have travelled long, show 
pyramids of light and towers of golden brilliancy, ere he 
sinks in those waves of sparkling silver which bound the 
far-off west. Here we may quote the thoughts of 
Thompson, which we presume to apply to light : — 

Now through the passing clouds she seems to stoop, 

Now up the pure cerulian smiles awhile, 

Where the pale deluge floats, and streaming mild 

O'er the tall mountain to the shadowy vale, 

Where rocks and floods reflect the quiv'ring gleam, 

The whole air whitens with a boundless tide 

Of silver radiance trembling round the world. 



OF THE EYE. 11 



CHAPTER III. 

MOTION AND SHAPE. 

We would now refer to the general doctrine of motion 
and shape : the former arises from polarity, or constant 
duplicity of force ; indeed, a polar tension lies at the bottom 
of all motion, which must, therefore, in its course, realize 
a sphere, which is the only shape in which the Creator and 
his various manifestations appear. Neither sun, moon, nor 
any of the fiery globes, or seriform vibrations, or sea, or 
cataract can ever assume any form but the spherical; indeed, 
there are no straight lines in life or nature, and, for that 
reason, there are no angles. This may appear an extrava- 
gant declaration ; but whenever we test this proposition, we 
shall discover therein the wonderful and harmonious pur- 
poses of God in so appointing and endowing all his agents 
with this single but beautiful shape and action. This 
spherical motion encounters no opposition in nature ; it 
requires the least power and produces the greatest, 
occupying the least possible space. In its development 
sounds of nature travel, and those of music or voice are 
most beautiful and sweet, when rendered in that shape. 
This motion incurs the least possible injury to bodies, and 
often realizes many symbols of the sublime, such as smooth- 
ness, brightness, continuity, &c. &c. The engineer so fashions 
the stony bulwark of piers, the bows of vessels, and all 
parts of art which have to companionize with nature. It 
is the contour of the first line of our existence. It is the 
shape and motion of that organ which contains the divine 



12 THE LANGUAGE 



powers of sight ; it is the shape of the greater and lesser 
channels of our life, as well as of the muscular and nervous 
powers ; the vessels and arteries of man are all spherical. 
It is in this shape the whole body is prefigured ; indeed, in 
the form of man is all nature prefigured, The light, the 
air, the fire, the water, are all thus prefigured. Some 
have thought that the whole body consists of a series 
of rings or spheres. The sphere is the shape which 
furnishes the greatest convenience in the least possible 
space ; indeed, it is so obviously a supereminent expression, 
that 'generations of man in all time must acknowledge 
its eternal powers and graces. As we have said, there 
are no mathematical straight lines in the world, as real 
lines are constantly in a state of polar action or tension, 
always converging and diverging, at once central and 
peripheric, i.e., assuming their natural bias as boundaries 
of the sphere ; in truth, the whole universe is a globe or 
sphere; it is, like its Creator, a total and independent 
spirit. For should the Mighty One (in reverence we 
speak) appear real, He must appear in a sphere ; and we 
never contemplate His mystic being, but enshrined in that 
space, which is a point of space in a state of expansion. 
And in those sweet and happy moments when the tired 
spirit of man pauses and allows the eye of faith to enter 
the unseen world, his being conceives itself in presence 
of God, and his angels are shadowed forth by a sphere 
of bounds immeasurable. 

Another axiom, which is most obviously sequent, is, 
that there is no level surface in the universe (the sail of 
the ship is first seen) ; no pure surface or pure lines, all 
being curved. The surface of a sphere cannot be regarded 
as a continuum, but as drops, or the fashion of the 
heavenly bodies, or as when a given quantity of air is 
displaced so many spheres are readily moved amidst other 



OF THE EYE. 13 



spheres. The doctrine of sphericity is geometry (which 
like mathematics is of eternal nature), for all forms are 
contained in the sphere, and all geometrical proofs are 
capable of being conducted through the sphere. As we 
have before said, every individual sphere has two motions 
in itself; for instance, the heavenly bodies depend upon 
the representation of the primary in themselves by the 
special rotation, but re-attempting to recover the primary 
centre through the general rotation around the universal 
axis. It is thus with the heavenly bodies — those holy 
images and metotypes of the Eternal. 

Perhaps the face and form of woman may be regarded 
as the very ideal of symmetry, and these in action create 
by their own grace symmetrical forms ; and this symmetry 
is the highly exalted being endowed with life and ex- 
quisite variety. 

We may venture to give an illustration of the effect 

and influence of shape, by referring to the three cousins, 

whose portraits ornament our pages. Kate is all love 

and joyance ; with her, toil is sweet, and love is her life. 

Her virtues graced with external gifts 

Soon breed love's settled passions in the breast. 

Her countenance, as some placid lake, is enclosed in the 
sphere. Hermione sustains the same outline, though other 
feelings occupy her mind "Her passions are made of 
nothing but the finest parts of true love." Faith, Friend- 
ship, and bright Hope are there, which are always enclosed 
in the sphere. Isabella has conversed with dark spirits, 
and now sad suspicions and purposes fill that once noble 
heart. Those lips seem taught to writhe, but not to love, 
whilst her rugged and angular features are ever violating 
the line of beauty. It cannot be doubted that the virtues 
and simple passions when in motion, enclose in their 
hallowed circuit every indent or rigidity. 



14 THE LANGUAGE 



CHAPTER IV. 

PHYSIOLOGY OF THE EYE. 

We would again trespass on the patience of our readers, 
and ask their consideration of another aspect of our subject. 
It is said the eye is a refracting medium, and is only dis- 
tinguished from the brain by being a translucent, refractive 
substance. That light does not stream into the eye like 
water into the sponge, but it progresses gradually into it, 
and operates upon it ; and that, in order to experience the 
sensation of light, the eye is placed in a similar tension to 
the air and water, and that the tension between it and the 
main body of brain is perceived by the latter, as illumina- 
tion. Some say the eye is the brain's prism, in which it 
sees the world, — in which the brain sees its own tension or 
the production of colour. Sight is also characterized as 
deoxidation of light ; and the eye by some is now approved 
as an actual part of the brain. We may refer to the first 
expression or lines of man's existence ere his birth, and 
then, remembering how combined all his parts once were, 
— how that the line of life (the vertebra?) did solve into 
itself all parts for a time (as the trunk of a tree),— -we are 
not indisposed to admit all such philosophy. Some consider 
that the optic nerve is an organized ray of light ; the brain 
an organized sun ; the eye an organized chromatic sun or 
rainbow ; the optic nerve perceives not the light in general, 
but its terrestrial formation in the chromatic image, which 
has been propagated into the eye. In contemplating 



OF THE EYE. 15 



this interesting subject we experience overwhelming ad- 
miration, that timidity in determining, and that venera- 
tion for the Creator which a consideration of his works 
ever creates. As we proceed, we encounter new joys, 
new fears, and are at last astounded with the many 
mysteries of the subject. Yet we may announce our 
conviction of principles ; for instance, we would say 
the more anything has adopted within itself the great 
principles of the universe, the more perfect and beauti- 
ful will be its power, appearance, and existence ; for 
being thus animated, it then evinces its alliance to the 
Eternal. It is thus it would be the most perfect finite 
essence. It is, therefore, the highest and last whereunto 
creation could attain ; for more than God and His mani- 
festations cannot be seen in one space. It can never cease 
to exist, having about it eternal motion, being under the 
polarity, which is eternal. It may appear in different form 
to our finite senses, — the space it occupied may seem void, 
— but we are assured by revelation and the highest schools 
of philosophy it never dies ; it is principle, and maintains 
itself by virtue of its life ; it may be generated by actual 
progression, but it never dies. 

Some say the eye is a nervous system, represented -in a 
state of purest organization. That it has its own share of 
brain, for the cerebrum is the optic brain. The optic nerve 
is itself hollow, and unites the cerebral with the orbitar 
cavity. The sclerotic coat of the eye is the continuation 
of the dura mater of the brain. The vascular or choroid 
coat of the eye is the continuation of the encephalic pia 
mater ; indeed, all parts of the eye are said to be continued 
into the brain. A still greater and more interesting analogy 
must be referred to, viz., that as light represents choatically 
the whole of nature, the eye is the choatic representation 
of all material processes of the body. The analogy may 



16 THE LANGUAGE 



be considered fanciful, but we concur in the opinion that 
the limbs or members of the body are repeated in the 
ocular muscles and sclerotic or bony ring ; indeed, these 
muscles move the eye, similar to a motion by the hand. 
The sclerotic corresponds to the corium ; the cornea to the 
digital unguis, or finger-nail ; the choroid coat is the 
respiratory system of the eye, as the lungs are to the 
body ; the iris may be compared to the larynx ; the pupil 
to the glottis — its expansion and contraction is respiratory ; 
the choroid coat encloses a mass,— the lens, — a vertebral 
body, thought by some osseous, by others albumen ; the 
morbid states of which are osseous diseases, such as gout. 
In the chambers of the eye, water, as being a product of 
digestion, is constantly secreted ; the orbitar cavity is a 
mouth with salivary glands, giving tears ; the lachrymal 
canal is a bronchial duct, which opens into the nose like 
the Eustachian tubes did from the ear into the mouth ; the 
eye-lids correspond to the lips, and are, in like manner, 
fringed with hairs ; indeed, this little organ repeats in 
itself the whole of man, which is the highest and most 
complete organization. 

We are aware the general reader will expect the 
subject to be enunciated with the least technicality, and, 
therefore, we will now approach our subject in a popular 
form, and say there is another and more simple view of 
light and colour, as affecting the eye, which owns no 
independent light, but enjoys the rays of that orb which 
glorifies and warms this lower world. The light of 
this orb is subject to three principal laws requiring 
notice, viz., transmission, colour, and refraction by trans- 
parent media. 

1st. The sun or any body in a state of combustion 
contains independent light ; and striking opaque or non- 
luminous bodies in straight lines or rays, which are 



OF THE EYE. 17 



intercepted and reflected at the same angle as that of 
incidence. When these same rays strike the eye of man, 
the illuminated body becomes visible. 

2nd. All light contains three principal colours — blue, 
yellow, and red. Now, if the surface of the body on 
which the rays fall are of such nature as to reflect these 
three colours in equal mixture, the body reflected on will 
appear white. If the nature of the object has quality 
which decomposes these three rays, sometimes it absorbs 
two, and then the object appears of the colour of the third ; 
but if it absorb one only, then it will represent a colour 
partaking of the two remaining colours ; and from the 
respective degrees in which one or other of these primitive 
colours predominate, arise the variations of colours. Lastly, 
if all the three colours are absorbed by the object, it appears 
black. The rainbow shows an arrangement of the chief 
colours, and may be recollected by the word vibgyor — i.e. 
violet, indigo, blue, green, yellow, orange, and red — which 
may be regarded as the primitive and mixed colours. 

3rd. When light falls on transparent bodies, such as water 
or glass, at right angles on its surface, it proceeds straight 
through, and is not intercepted by the substance; but when 
it falls obliquely, it suffers refraction, and the greater the 
density the greater will be the refractive power. The old 
experiment, of putting a stick in water or oil, will demon- 
strate this rule. The first two rules render visible the 
infinite variety of objects and colours in the external world ; 
and by the third, as applied in the mechanism of the eye, 
man is enabled to see these objects and colours. Although 
we can say nothing new, yet we should endeavour more 
fully to explain the process of seeing, and in familiar 
terms. The first rule shows the rays of light must reach 
the eye in a diverging direction, when it is turned towards 
the objects, and these rays have the form of a cone, whose 



18 THE LANGUAGE 



apex is in the object, and its base at the cornea. Those 
rays which enter through the pupil, proceed through the 
transparent media — viz., the aqueous humour — the lens 
and vitreous body. Thus are the rays of light made to 
converge in the interior of the eye. This convergence 
presents a cone, whose point rests on the concave surface, 
or posterior hemisphere, i. e. on the retina ; its base being 
on the cornea, or anterior hemisphere. The point in the 
retina is the focus, and it is thus the point of the external 
object from which the rays diverge is represented at the 
bottom of the eye, by a point exactly corresponding to 
that of the external object. But as every point of the 
object sends rays to the eye in the same maimer, these 
must represent as many foci in the retina; and as the 
points in the object lie close to one another, the foci at the 
bottom of the eye must also occupy the same relative 
position among themselves as these points in the object. 
The object then forms an image in the interior of the eye, 
though small, just as a picture is represented on the table 
of the camera. 

The optician's business is to make an instrument which 
is analogous to the mere mechanism of the eye, and he is 
well able to explain the mode by which objects arrive on 
the retina ; but who can say how they communicate with 
the brain, and become a part of man's knowledge? Of 
this hereafter. 

When there is any malformation, either in quality of 
refraction, media, or mechanical parts, or adjustment of 
the eye, short sight, or other imperfections, and even blind- 
ness are the result. Even light, or rays which enter the 
eye, cannot be used by all eyes alike, but to some they 
create indistinctness and even pain. 

As to the quantity of light admitted into the eye, this is 
regulated by the iris, which contracts when too much is 



OF THE EYE. 19 



presented, otherwise indistinctness would prevail; and that 
the iris may more peremptorily regulate this most impor- 
tant principle, there is a dark colouring matter painted all 
around the interior of the eye, and thus the eye represents 
the principles used in the camera. The darker the matter 
the better, as preventing absorption of rays ; so that we 
may say people with dark eyes can endure more glaring 
light, and, of course, admit more light into the eye. The 
great officers of the eye are, — sclerotica, giving the ball its 
form and firmness, conjoined to wonderful resilience, united 
by six muscles ; the choroid provides warmth and nourish- 
ment ; the transparent media refract light, and by causing 
convergence form an image accordant with the object, which 
image appears on the retina ; the iris and pigment regulate 
the light and secure distinctness. 

We have said thus much of objective vision, that is, we 
have spoken of light and of mechanism of the eye, and 
traced the means by which the external object is placed in 
the retina, and this may be said to be the materialism of 
our subject. But how all the sensible works of God and 
man become ideas and elements of the mind may be more 
difficult to prove. Yet we will follow in the beaten channel 
of authority, and endeavour to consider this other part of 
our subject, — viz., subjective seeing, or the means by which 
the retina surrenders its store of images and subjects to the 
mind or brain. 

Perhaps the most simple form of explaining this more 
devious part of our subject, may be to say that when the 
image has been received by the retina, it has executed the 
mere mechanism of an optical instrument, and then the 
eye itself becomes the instrument of the mind, and the 
manner in which it is used by the mind may be called 
subjective seeing. For this there must be energy in the 
nerve of sense ; that is, the retina and the optic nerve must 



20 THE LANGUAGE 



be in strict life and action, whilst the mind itself should be 
in vigour and ability, so as to realize a simultaneous action 
or recognition of the outward object, and commix it with 
all the store of previous possessions of knowledge. 

Occasionally it occurs that the object arrives at the retina 
without rendering any knowledge or report to the brain, 
owing either to some defection in the action of the optic 
nerve, or unsoundness of cerebral power, and then the 
sensation or feeling of sight (if we may be allowed the 
expression), is wholly dull and immobile, and, of course, 
no perception is realized. 

Sometimes persons, as we know, are in abstract and 
deep thought, when the object has arrived on the retina, 
and they appear not to have seen anything ; but, after a 
time, they will tell you they felt the arrival of the object 
or image on the retina and perceived its nature, which 
accorded or varied with their previous knowledge or 
experience. It is not needful for us to quote instances 
when the optic nerve is sensitive, and even the brain 
acknowledges the presence of light, and yet the objects 
find no place in the mind. 

It is sometimes a curious inquiry, how it is that having 
two eyes, each perfectly adapted for vision, we yet see but 
one object, or rather have but one picture on the retina. The 
most simple answer seems, that if both eyes are directed to 
one object, the two optic lines will concur at the same 
point of the object, and the two images (one to each eye) 
will be simultaneously referred by the retina to the single 
point of concurrence of both optic lines. Although each 
eye may be said to have an image, yet the sensation of the 
two retinae are. of a correspondent nature, and being made 
in the same manner and time, they must harmonize with 
each other in respect to this triple unity of nature, manner, 
and time. After we leave the mechanical powers and 



OF THE EYE. 21 



actions of this wonderful organ, we arrive amidst many- 
mysteries, and must admit that perception is not explicable 
by laws which govern matter. Here spirit takes the light 
into its own mystic keeping, and leads man through wonders 
many, and vastly above the comprehension of the superficial. 
The Diagram is the same section, though on a less scale 
than Dr. Franz's. It represents a horizontal section of the 
anterior part of the head, made in the direction of a line 
passing through the middle of the anterior aperture of each 
orbit, to show form of orbit; position of eye-ball ; arrange- 
ment of muscles ; the lachrymal organs ; interior structure 
of globe; course of optic nerve ; and formation of the image 
of an external object on the nervous membrane of the eye 
by means of the rays of light. The vessels and nerves are 
omitted. 

1 Shows the lateral walls of the orbit. 

2 The left eye-ball with five of the six muscles. 

3 Is the superior. 

4 „ inferior. 

5 „ exterior. 

6 „ interior. 

7 The superior oblique muscle (with its tendon passing 
through a loop of cartilage), which is affixed to- the 
foremost part of the upper wall of the orbit, where this 
wall unites with the interior wall. 

8 The lachrymal gland. 

9 The conjuntiva, covering a portion of the anterior 
hemisphere of the globe and the interior surface of the 
eye-lids. 

10 Small orifices, through which the tears pass into 
the lachrymal ducts. 

11 A transverse section of the lachrymal ducts. 

12 The ophthalmic artery, as it enters the orbit by 
foramen opticum. 



22 THE LANGUAGE 



13 A horizontal section of the right globe. 

14 The sclerotica. 

15 The cornea. 

16 The choroid. 

17 The dark pigment. 

18 The retina. 

19 The iris, having the pupil widely open. 

20 and 21 The anterior and posterior chambers con- 
taining the aqueous humour. 

22 The lenticular system. 

23 The vitreous body. 

24 The central artery. 

25 The optic nerve. 

26 The chiasma of the optic nerves (longitudinal section 
of which is made), the numerous fibrils composing these 
nerves, their course, and decussation. 

27 The part of the optic nerves coming from the brain. 

28 An object which reflects the light in the direction of 
the lines drawn from the points a to the eyes directed 
towards the object, just as every other point in the object 
would do. The lines b are pencils of light, as they find 
entrance through the pupil into the interior of the eye- 
ball, where each of them is by refraction made to con- 
verge to a point, called the focus, which, falling exactly 
on the retina, forms a distinct image thereon of the point 
a of the external object from which the pencil of light 
emanated. This is what takes place at least in the eye 
in its normal state ; but when there is any deviation from 
this state, and the condition of the eye is such as to bring 
the rays of each pencil of light to a focus at the line c or d, 
no distinct image can in this case be formed on the retina ; 
since, when the focus occupies the place of the line c, the 
rays, in meeting the retina, are again divergent; and, 
when the focus is situated at the line d, the rays, in 



meeting the retina, are not yet brought into union with 
each other. The first case occurs in a near-sighted eye, 
and the second in a far- sighted eye. The lines e represent 
only the principal rays of each pencil of light reflected to 
the left eye. 

The orbit occupies a spherical cavity formed of seven 
bones, which are quite independent of the fashion of the 
head — it is rather conical at the back, with apertures for 
communication with the brain. The ball or apple of the 
eye is spherical — the most beautiful form in nature — the 
form which nature assumes in all most pleasing expres- 
sions. The vault of Heaven — the rainbow — the contour 
of woman — the shape of the brow — lash and lid of the 
eye — the path of the sea — the sweetest sounds are round — 
the marital emblem — the very shape in which the mind 
always conceives the great Spirit resident — is that of a sphere 
or circle. It would exceed our limits to say more on shape, 
else very many pleasing lines might be added. Its motion 
is aided by its shape ; in short, the sphere is the only perfect 
and independent shape, all other shapes being but parts of 
it. It is the shape which beauty assumes when it has 
executed its mission of action and attrition. 

The eye's imperial eminence above all the other -senses 
gives it dignity and power. The elevated situation yields 
the idea of a lighthouse, from whence we may look down 
on the storms and sands of time, whilst we observe the 
drama of fortune and vicissitude ; and, although the very 
foundations of the sea may be raised in many dusky atoms, 
yet the lamps of this lighthouse remain faithful and lumi- 
nous. Nature has built a wall round about this great 
treasure, i.e., seven bones form a deep cavity, called the 
orbit, in which rests the ball or apple, with its muscles, 
vessels, &c. The eye may be said to ride in an adipose 
substance, as the sea-fowl rides upon the wave. The 



24 THE LANGUAGE 



texture of this organ would excite some fear that it might 
readily suffer injury ; but the eye may be compared to a 
room with a blind (iris), pane of glass (the cornea), and 
strong shutters (the lids), which do not resist violence, 
but endure it, without suffering injury, being so active, 
flexible, and resilient, that its very vibrations form its 
armour, as the yielding wave bears the haughty bark. 
The muscles, glands, nerves, and bones are more fully 
described in the diagram, which is drawn from a section 
adopted by that intelligent authority, Dr. Franz. The 
muscles move the eye towards the object ; it centra- 
lizes upon every object, every letter of a book separately, 
but with such activity, that in a moment the eye has 
reported to the brain every object and colour in a 
room. The lachrymal glands supply all that lubricating 
moisture which prevents superficial injury to the organ in 
its active motion — the tears appear through the small 
orifices, and pass into the duct away. The optic nerves 
and arteries, the various humours, transparencies, and 
powers should be subjects of the greatest interest to those 
who delight in the study of the organs and physical 
abilities of the human frame : yet the author fears a more 
elaborate consideration of this part of these subjects would 
be scarcely acceptable in a little book, the chief object of 
which is (in a popular manner) to attract attention and 
deeper solicitude to the subject, and thus incite the reader 
to a more extensive examination of the nature (physically 
and philosophically) of this most solemnly interesting and 
highly important organ. 



OF THE EYE. 25 



CHAPTER V. 

COMPARISON WITH THE OTHER SENSES. 

Our subject rather invites a few words on the comparative 
character of the senses. Enjoyment appears universally 
to "be the main end and rule, the ordinary and natural 
condition ; while pain is but the casualty, the exception, 
the necessary remedy, which is ever tending to a remoter 
good, in due consideration to an ever higher law of nature. 
Here, as in every part of the physical economy, nature has 
endowed these organs with a direct and particular sensi- 
bility to those impressions which have a tendency to 
injure its structure ; whereas they delight in those 
impressions which are not injurious. These external 
agents, which are capable of affecting the different parts 
of the nervous system, so as to produce sensation, are 
governed by laws peculiar to themselves. Their struc- 
ture is adapted in each particular to receive the impres- 
sions made by their respective agents, and are modified 
in exact conformity with the physical laws they obey. 
The structure of that part of the nervous system which 
receives visual impressions, viz., the retina, is adapted to 
the action of light ; and the eye, through which the rays 
pass, is constructed with strict reference to that object. 

The ear is formed to receive delicate impressions from 
those vibrations of the air which realize sound, and acquires 
a susceptibility of influences by its own appropriate agents, 
and by no others. In almost every case the impression 



26 THE LANGUAGE 



made upon the sentient extremity of the nerve which is 
appropriated to sensation, is not the direct effect of the 
external body, but results from the agency of some inter- 
vening medium. There is always a portion of the organ 
of sense interposed between the object and the nerve on 
which the impression is to be made. The object is never 
allowed to come in direct contact with the nerves ; not 
even in the sense of touch, for there the organ is defended 
by the cuticle, through which the impression is made. 
This observation refers equally to taste and smell, the 
nerves of which are not only defended by the cuticle, but 
by secretion of mucous character, which averts any violent 
excitement. The two senses, which are more relative than 
others, are the sight and hearing, both which receive their 
impressions through the medium of the air. 

We feel some hesitation on proceeding further on this 
interesting part of the subject, — viz., the comparison of the 
organs of sense and their respective physiological dis- 
tinctions. If we were to go much deeper, we should soon 
find ourselves amidst those most interesting distinctions of 
sense, as delineated by the general animal kingdom — the 
touch of the ant, the sight of the fish, the hearing of the 
bird, the smell of the dog, &c. We would refer our 
readers to Buffon, Laurence, Hutin, Koget, and Walker, 
and conclude this part of our subject with but few 
observations. 

Touch furnishes the relation of mechanical bodies; 
taste is adapted to chemical relations ; smell also to 
chemical relations, but for the perception of substances in 
the aeriform state ; hearing is for sound and its many 
modifications, tones which are produced by the internal 
vibration and motion of the particles of bodies and through 
the medium of air, &c. Our subject, the sense of sight, is 
adapted to light and its modifications, colour and shade, 



OF THE EYE. 27 



and render to the perception the surface, form, and 
position of objects through the medium of light. 

Sight and hearing seem to bear the most important cha- 
racteristics, being employed on those objects which form 
the basis of human knowledge, viz., time and space. 

An eloquent and scientific writer, reminds us that the 
great Mosaic record states, that a deep silence and repose, 
with a mysterious darkness, prevailed over the chaos of 
things, and God commenced his work by saying, " Let there 
be light." The sublime volume of revelation declares that on 
the last day a trumpet shall sound, announcing the judg- 
ment ; then, amidst the tumult of the elements, shall the 
sun, moon, stars, and all temporal things, perish ; but the 
spirit of man shall enter into the bright and resplendent 
mansions of eternity. 

In man all these senses are susceptible of equal and 
simultaneous action, which is one of his leading dis- 
tinctions from other animals. The habits and instinct of 
the brute demand that prompt and excelling vitality should 
attend particular organs. Even amongst the children of 
man, it may be observed, some seem more agile in the use 
of particular senses. The aborigines of some parts of the 
world will hear more readily and see objects at greater 
distance than the inhabitants of civilized cities ; and this 
advantage may be traced to the fact, that they are very 
much in a state of nature, and, therefore, compelled to 
sustain their existence by daily use of their senses of sight 
and hearing, and have, at times, no other protection against 
sudden danger than the acute vigilance of these nerves. 
The inhabitant of the ice-bound wilds will be seen sud- 
denly to lay upon his face and put his ear on the ice, by 
which he will learn what is approaching, though unseen. 
The wild bush man can see through marshy vapours, which 
would entirely eclipse the object from the eye of the 



28 THE LANGUAGE 



European. The savage can detect the footsteps of wild 
animals or his enemy, o'er mountain pass, o'er gloomy- 
moor, and midst deep jungles, which would entirely elude 
the eye of civilized man. Here also is an evidence of the 
provident hand of the Creator, whose ample benevolence 
includes creation round, and not a child of man has been 
forgotten in his love. 

Perhaps a summary of the ability of sight and hearing 
may be thus stated : — 

Sight is adapted to light, colours, form, shape, numbers, 
&c. ; written language, the works of art and nature. 

Hearing is adapted to music, tones of all sorts, matter, 
quality, rest and motion in time ; speech, the feelings, the 
sympathies, the finite and temporal. 

There are some useful observations in Lord Malmesbury's 
Philosophy, and in Oken, of the German school ; also in a 
more familiar, but very valuable work on natural philo- 
sophy, by the late Grolding Bird. 

We fear we are becoming tedious, and too abstracted ; 
but, truth demands a basis; and we rejoice to say, that 
whenever we investigate the attributes of nature, we look 
upon eternal beauty and excellence. If we are able to 
test them by one or all the sciences, we award them the 
highest approval, and feel the sweetest interest in the 
investigation. Perhaps no subject is so fall of excitement 
and interest as the economy of our own nature : its 
anatomy and physiology, its fashion and mechanical 
appliances are so truly in harmony with the strictest 
principles of science, whilst its sensibilities have a 
constant relation to the qualities of things external ; 
indeed, we discern such a proportion of harmony and 
exact fitness, that the pains of the body, equally with its 
pleasures, seem appointed to balance and protect its 
delicate and wonderful structure. We must also observe 



OF THE EYE. 29 



the activity of one system promoting that of a second ; the 
functions of one organ, the action of another; whereby 
arises a succession of series of all functions, constituting a 
perfect circle, which is termed organic life. The power of 
any one organ of the body ministers to the enjoyment of 
every other part of the body, carrying on a correspondence 
with all the works of God. This unity of end and harmony 
of action have justly tempted the learned to continue those 
extensive investigations, amidst which the philosopher lives 
and dies ; but our humble aim will be to attract attention 
to one subject only, and in as abstract and brief a manner 
as possible, and to render it in the most popular and 
untechnical language ; for, whilst we admit the constant 
relations before noticed, we have neither the ability nor 
space to survey the whole field of philosophy. If we did 
not at once deny ourselves this extensive investigation, we 
might be required to consider the nature of the soul — the 
life of nature ; the great globe — its consistence and relations 
with other worlds ; and many subjects worthy of large 
volumes. The mechanization of other animals and their 
relations with the old and new worlds, geology and its 
incidents, the doctrine of gravity, motion, respiratory 
habits of the earth, air, light, colour, anatomy, physiology, 
pathology, therapeutics, human volition, &c. &c. 

How exhaustless is the wonder which nature creates ! 
It is said light moves 200,000 miles per second ; that the 
earth is distant from the sun 95,000,000 miles j and that 
light traverses the space in about eight minutes. Again, 
it is said by some that the light which supplies this world 
emanates from certain celestial lights, and would require 
thousands of years ere it reached us, but that a force 
(almost awful) equal to its distance, drives it through this 
space, so as to supply us with fresh light every instant ; and 
that it is thus it enters the eye of man and strikes on that 



30 THE LANGUAGE 



delicate nerve by which vision is produced. Again, we 
would just say, the magnitude of the world, its division into 
lands and waters ; its storms and tides ; its substance and 
complexion; its rocks and sands ; its mountains and vallies, 
all share in yielding, distributing, and meting out being 
and endowments to man ; and we have no doubt this 
wasting frame owes its nourishment and dependence, 
both sudden and gradual, to elements external, and that the 
most active are perhaps those which are the least seen and 
understood by the ordinary observer. We do not mean 
these bodies are wholly made out of the external matter, 
but we acknowledge a correspondence and accordance which 
the Christian philosopher is ever discovering. The great 
Creator rested from his labours, and declared all was good; 
and often, very often does the philosopher bow down in 
veneration and praise, in certain epochs of his researches, 
confounded with the demonstrations which burst before 
him, and he feels there is nothing of chance, but a constant 
ruling Intelligence over all and all things. The cataract 
displays no greater wonders to his mind than the stream 
which warbles by the village bower ; the haughty voice of 
iEolus excites no greater wonder in him than the breeze 
which trembles on the cordage of the little skiff: for well 
he knows they equally perform a share in the great mani- 
festation of holy government. Design extends over all, 
and universal nature celebrates the goodness of God. The 
consideration of the fitness of things — their harmony and 
beauty — is the highest occupation of man. For the pre- 
servation and enjoyment of life, many excellent provisions 
are made ; and so complicate are they, that man without 
these, or any of them, could only sigh and die. He regards 
the power of his muscles as an obvious palpability, yet 
science will inform him that every breath he draws, to curse 
or praise, is realized by a mechanism as complicate and 



OF THE EYE 31 



wonderful as that which fells the oak or raises the imperial 
tower ; and that this mechanism is depending on ties and 
alliances of every order and beauty, all which unite and 
sympathize in the delight of being. The circulation of the 
blood, the nature of the heart, the acute jealousy and vigi- 
lance of the nerves, the respiratory action of the skin, the 
delicacy of touch, the luxury of taste, the godliness of sight 
— all manifest an irrepressible unity and action which no 
mere power of mind could regulate or exercise. 

We are aware that some may regard the subject as 
desultory, and only approve of experimental evidence, as if 
the criterion of all truth were an alembic or air-pump. 

How different with the philosopher ! He can summon 
the principles of all sciences to his aid, and elaborate any 
result he desires. He has command over distance, number, 
space, time, things seen and unseen, and can use them to 
serve before him, and minister delights to his feasting soul. 
He knows that sense must one day be clogged and dull, and 
that it is but the perceptive power, mind being the retentive. 
We might illustrate this idea by saying : — " In vain should 
we attempt to walk the stream, till the chilling air has 
bound the current, and hardened the yielding surface ;" 
so does the spirit in vain seek to rest in contemplation, 
until attributes of the mind have fixed the fluency of sense, 
and created elements for the support of higher exercises ; 
or as the great poet of nature successfully expresses this 
idea in Eichard the Second : — 

KING RICHARD. 

How soon my sorrow hath destroyed my face. 

BOLINGBROKE. 

The shadow of your sorrow hath 
Destroyed the shadow of your face. 

KING RICHARD. 

'Tis very true ; my grief lies all within ; 
And these external manners of lament 



32 THE LANGUAGE 



Are merely shadows to the unseen grief, 
That swells with silence in the tortured soul. 

Or, as Milton speaks in " Paradise Lost :" — 

" So much the rather, thou, celestial sight, 
Shine inward, and the mind through all her powers 
Irradiate ; there plant eyes, all mist from thence 
Purge and disperse, that I may see, and tell 
Of things invisible to mortal sight." 

Or, as Dante says : — 

" Io non posso, celar il mio dolore." 
"lam unable to conceal my grief, 
Hence must my outward aspect mourn, 
As the soul does within its dwelling-place ; 
For when Love took his station in my heart, 
He stood before me, and suggested thoughts 
Unto my mind, which since have seldom slept." 

Cansone 18th. 

It is the privilege of the great mind to know and feel 
this, for it bears the exalting divinity within ; and the more 
it acts independent of all that is mutable, variable, and 
irrational, and dependent on that good which is immutable, 
permanent, and rational, the more will true peace and 
happiness be promoted. It is then that the trinity of 
parts (the spiritual, intellectual, and material) are acting 
together, and all the excellency of our nature is secured. 
It is then that the mind, which forms the connecting link 
between body and soul, being irradiated by celestial light, 
penetrates the dark mists that obscure man's ordinary 
vision, and enjoys an antepast of heaven itself. Were it 
not for this the sensible world would lose all its exqui- 
siteness. 

It is surely not the figure alone, nor the touch, nor the 
odour, which makes the rose ; but all these governed by 
the dignity of intellect and the innumerable associations of 



OF THE EYE. 33 



mind and spirit, acting simultaneously. We do not deny 
that the senses perform their part ; yet these would be 
imperfect and evanescent, but that some higher collective 
power lays up a store of images and pictures, which is 
never destroyed. Let us exult in this divine privilege ; 
for who shall measure this power, who despoil it ? It is 
kept by the hands of angels and archangels. 

Cowper pourtrays this creative faculty of the mind 
thus : — 

" How fleet is the glance of the mind ! 
Compared to the speed of its flight, 
The tempest itself lags behind, 

And the swift-winged arrows of light. 

When I think of my own native land, 

In a moment I seem to be there ; 
But alas ! recollection at hand, 

Soon hurries me back to despair." 

Or, as an earlier English poet (Denton) says : — 

"Thus, the lone lover, in the pensive shade, 
In day-dreams wrapt, of soft extatic bliss, 
Pursues in thought the visionary maid, 
Feasts on the fancy'd smile and favoured kiss. 

" Thus the young poet, at the close of day, 
Led by the magic of some fairy song, 
Through the dense umbrage winds his heedless way, 
Nor hears the bubbling brook that brawls along." 

Such exercises and powers are never appreciated by the 
superficial observer; his powers are but temporary and 
transient, and he can secure no ideas as his permanent 
associates for reasoning and reflection. In his retirement 
he can summon none of the affianced spirits of sublimity ; 
whilst even his social amenities can bear none of the mys- 
terious graces which illumine the brow of the philosopher 
— he knows that some of our most pleasing convictions 



34 THE LANGUAGE 



press before us, when we are scarcely prepared to inquire 
into the cause ; and yet we may fairly assert, that nothing 
contributes more surely to the attainment of permanent 
delight, than the investigation of the cause ; and that it is 
most useful to ask ourselves why we are thus delighted, 
why thus affected, why melted into sympathy, why so 
absorbed. 

If we were worthy to advise a young philosopher, we 
should say, avoid sophistry and too refined conceptions ; 
yet seek for principles, and those principles which are 
based on the simple truths which nature supplies ; and let 
every theorem be tested by those principles which are 
immutable, so that perspicuity and accuracy may be 
secured. But with all this, do not expect evidence 
unsuitable to the nature of the subjects of your inquiry. 
To some belong demonstrable evidence — to others intuitive 
— varying with the subjects. 

Those who live above the regions of mere sense, and 
are seeking communion with the spirits of truth, are 
accustomed to the contemplation of true beauty, and live 
amidst agreeable sensations, which not only occupy the 
imagination, but engage the whole capacities of the mind ; 
and there is not a beauty in nature or art, with which 
they are not acquainted. Every colour, every sound, 
every star of the night, every dew-drop of the morning, 
every space or expression in which beauty resides, is at 
once recognized as a portion of the excellence of eternal 
perfection. Indeed they have an intuitive perception of 
the beautiful, which excites admiration even before the 
sensation . can be rendered permanent by the operation of 
judgment. This sensation of the beautiful traverses the 
whole mind ; but on no occasion does it hold a more ready 
affection, or produce a more instant interest, than when it 
embraces the outlines of the human form. 



OF THE EYE. 



It is then, the emotion of the beautiful evinces a very- 
exquisite feature, by diffusing itself over the objects which 
excite it, so as to appear as if it belonged to them, and not 
to the mind which is occupied in reverie and contemplation. 
It is then the ardent and enthusiastic enter a dream of 
love and admiration, from which they are reluctant to 
awaken. They do awaken, but it is again to fall into 
sweet reveries, regarding their objects as containing a 
congenial spirit, expressive of feelings responsive to those 
with which they are gazed upon by their devotees. So 
unreservedly, yet unconsciously, is the transference of life 
and feeling made from the mind of the beholder to the 
object beheld, that the refined disciple declares, that 
nature is full of feeling, and animated by one great spirit, 
whose expression in every aspect is beauty. In a word, 
the lines of nature, and most especially those inclosing the 
human form, are as lines in the life of beauty itself, varied 
by the Creator to elicit with truth and fulness all our 
innate sensibilities, which consummate the evidences of 
our divine fashion and genealogy. The delightful over- 
flowings of a mother's heart seem to her to be lovely 
emanations, radiating from the face of her little one. The 
lover, by the same law of imputation, ascribes -all the 
charms with which his passion is inspired, to essences and 
qualities inherent in the object of his passion. And though 
this interesting phenomenon in our mental economy is 
attended with no ready explanation, yet whatever be the 
cause, we recognize in it the character of the emotion of 
the beautiful. It tends to diffuse itself over the beautiful 
object ; and the mind, instead of recalling it, and viewing 
it as mere inert materialism, regards it as beaming with 
light and feeling. This is practical refinement — there is 
no fiction here ; for man, as pious Enoch, now walks with 
God. In this exercise he learns to decide against all 



36 THE LANGUAGE 



unworthy and vain occupations. His whole being is 
exalted. He knows God has placed him amidst things 
lovely and harmonious. In these beatific exercises he is 
often enabled to realize the relation of the beautiful in our 
own organization; and far from such being merely notional, 
he feels (with evidence suitable to the subject) that the 
beautiful is the representative of two of the leading econ- 
omies of our nature, — viz., the material system and the 
intellectual capacity. It is then he declares that nature is 
the rule and manifestation of mathematics, her part being 
the apparent and material, whilst spirit dominates over the 
ideal only, and that there is nothing new in mathematics, 
in nature, or in man. Man is the summit and crown of all 
nature's developments, and in him will be found a true 
record of all past time, as the blooming apple contains all 
the earlier developments. In truth, man is a microcosm, or 
all the world in miniature. In man are inherent a spirit 
and nature material, which are but transcripts of each 
other, their laws being consonant. Perhaps, we may illus- 
trate this somewhat mystic proposition by reminding the 
reader, that the crystals of ice are nothing else but water 
bounded by definite lines ; showing (in analogy) the rela- 
tion between real and ideal, spiritual and material, — both 
are essential to each other and yet different, — the diversity 
being in form only. 

An old English poet, the Be v. Thomas Denton, says : — 
" Tho' now no painted cloud reflects the light, 
Nor drops prismatic break the falling rays, 
Yet still the colours live, tho' none appear, 
Glow in the darting beam that gilds yon crystal sphere." 

And in another poem, it is said : — 

" Tho' wondering ignorance sees every, form decay, 
The breathless bird, bare trunk, and shrivelled flower, 
New forms successive catch the vital ray, 
Sing their wild notes, or smile the allotted hour ; 



OF THE EYE 



37 



And search Creation's ample circuit round, 

Tho' modes of being change, all life's immortal found." 

So also does the idea of a circle become a real circle, not 
from the latter emerging from the former, but from this 
itself becoming manifest. Indeed, all development or 
realization is nothing new or original, but only a manifes- 
tation, by a process of extension taking place in the idea ; 
in truth, the real is the ideal in a condition (as when a 
pebble is cast into a stilly lake) of definition and limit. 
The real is to assist the intellectual, in its reflections on 
the beauties of creation, and thereby to encourage that 
yearning for the wonders of infinity, which the Christian 
philosopher is ever experiencing. 



n 




38 



THE LANGUAGE 



CHAPTER VI. 



GENERAL EXPRESSION. 



We will return to our specific subject, by reminding our 
readers the mediaeval poets considered there was peculiar 
spirituality in the eye ; and, therefore, they say, angels have 
only the endowments of sight and hearing. It is certain that 
the eye gives the promptest and surest indication of mental 
motion. It is through this channel the understanding and 
feeling are communicated ; talent, genius, hope, fear, love, 
joy, hatred, sorrow, despair, and revenge, are expressed. 
Here is the path through which the refined mind is excited 
with a continual desire to attain higher excellence ; through 
which exalted friendship, and other noble incentives, are 
constantly exercising. Often in the eyes may be seen 
that ethereal object, the beauty of the soul, as conceived in 
the purpose of Deity, and ordained from eternity to lead 
us through rugged time to peaceful paths by the river of 
life. 

The intelligent, the impassioned, the energetic, the 
imaginative, and the man of genius, are readily recognized 
by communications made through their eyes. 

The lover's hopes and fears, his joys and sorrows are 
all painted in the eye ; indeed, every passion and gradation 
of feeling may be detected by the intelligent observer ; yes, 
the soul is constantly at the window of the enchanted 
palace of sight, as a little bird who has a continual desire 
to chaunt its melodious airs in some unbounded sphere ; and 



OF THE EYE. 39 



when strong passion has decked the soul or awakened its 
more earnest excitements, it seems almost to bound against 
the very casements of its mystic residence, so as to leave 
no doubt of the evolutions and dramatic exercises which 
are being consummated within. Then it is that glances 
of light dart forth from that palace to minister joy, hope, 
love, fear, hatred, and those innumerable comminglings of 
spirits, as they hasten over the hills and vales of time. 

Many learned and intelligent men have endeavoured to 
mark out the path and lines, the hues and contours in which 
these passions, feelings, and characteristics are content to 
take their way ; and, although some of these philosophers 
have failed to satisfy the critics, or agree in principles, yet 
they have cast considerable light on a most interesting 
subject relating to man's social happiness. In determining 
some of these principles, the voice, motion of the hand, 
and carriage of the figure, are known to perform a part. 
Lavater, Gall, and others, have left their valuable expe- 
rience in their works. The motion of the ball of the eye, 
the clashing of the lashes, the rapid or monotonous action 
of the upper lid, the increased brilliancy, and sometimes 
the presence of tears, or vermilion hue on the cheek, all per- 
form a part in this display. To this we must add, the state 
of health, age, moral condition, and intellectual cultivation, 
all which have their share in expression. If this is so, how 
difficult is the task we have presumed to enter upon ; but, 
in the enunciation, we shall depend on the liberal conces- 
sion of our readers. 

Some principles may be alleged, — for instance, where 
there is strong understanding, the look is pleasing, whilst 
the eye moves calmly, passing in curves, the pupil is 
contracted, the brows are bent downward, and the ball is 
prominent ; whereas, when the feelings predominate, the 
eye performs its motions more actively, and is fluctuating 



40 



THE LANGUAGE 



and flickering, indicating the emotions of the mind, the 
pupil is dilated, the iris appears soft, and oft riding in a 
charmed sea of crystal drops. 

Where the will predominates, there is great freedom of 
motion in all parts, and the ball moves firmly, and for the 
most part in rectilinear motion ; the look is not pleasing, 
bat repulsive, as it seems independent and acting under 
settled purpose. The brows appear stretched, and the 
lashes curved outwards. The really great man, the man 
of talent and creative genius, seems to evince the dignity 
of one, the freedom of the second, and the independence of 
the third ; the look is pleasing, and even attractive, open, 
thoughtful, active, and penetrating. It is the apparition 
of the Deity, so grave, so pleasing, so elevated, so placid, 
so genial, so full of feeling and power, that it seems to 
defy, whilst it attracts, and companionizes with all the spirits 
of earth and heaven. 

Such qualities are always discovered, unless tyranny or 
some violent occupation, such as constant warfare, eclipses 
this grand expression of the soul of man ; notwithstanding, 
Queen Elizabeth, Julius Cgesar, Frederick the Great, were 
all renowned for the power of their glance. 

The mind (if it may be so called) of the mean heart and 
limited capacity, bears an expression almost intolerable to 
witness. The pupil appears large, the iris dry ; the look 
is vacant, as though the eye feared to announce what was 
acting within ; the cornea is lustreless, it seems unable to 
acquire a definite form or fixation, so that you behold a 
monster ; a being using that beautiful organ as a mere 
instrument to see with, and discover means for its sensual 
delights, instead of performing its holy mission for the soul. 

Even the moral condition will express itself in the eye. 
Virtue and religion, faith and fanaticism, and even theo- 
logy, have their influence in the expression of the eye. 



OF THE EYE. 41 



With piety the brows are raised, and the lids open : a 
soft lustre diffuses itself over the sclerotica, and an almost 
holy radiance over the cornea ; the motions of the eye 
are free and in a curve directed upwards; the look is 
pleasing, open, and contemplative. Faith seems ever 
seeking the deep blue of heaven, and in calmness looks 
towards the horizon, and the eye seems seeking some 
object beyond the boundaries of earth. The fanatic 
seems also seeking some unseen and distant object; but, 
the look is generally sad and fixed. The theologian's 
eye is bright and clear, moves firmly, calmly, and harmo- 
niously ; the look is contemplative and agreeable ; if his 
views are of the alarmist character, and not regarding 
God as love, the look, is unsteady, fluctuating, and even 
piercing and unpleasing, the eye often sad, and moves 
clandestinely and surreptitiously. 




42 



THE LANGUAGE 



CHAPTER VII. 



NATIONAL EXPRESSION. 



We believe there are not two countenances exactly similar, 
and although there are broad and clearly defined distinctions 
in every race of every climate, yet the unprejudiced natu- 
ralist doubts not the root from whence every member 
springs. 

These physical peculiarities, and the geographical distri- 
bution of the human race, would form a most interesting 
subject, and it is somewhat singular so little has been 
written on this topic. The extremes of heat and cold, the 
intervention of seas and mountains, have necessarily much 
affected the form, carriage, and expression of the human 
family ; and yet each appears most happy in his place of 
birth. The Esquimaux companionizes with a breeze so 
cold that mercury freezes in its presence, and yet he would 
pine and sorrow to be removed ; his snowy deserts are 
sweet home to him, over which his soul traverses and 
feasts on sublime revelations. 

But see the native of torrid regions and golden sands ; 
there he goes wandering in reveries o'er his burning 
paradise. Show him the pictures of civilization, and 
describe to him their gorgeous possessions and effeminate 
delights, he looks into the very face of the sun, and, 
exchanging radiations with that world of fire, he turns 
aside from your proffer. He hastens away from the very 
temptations to the turpitude of leaving the associates of 



OF THE EYE. 43 



his nature, with whom he has entered into pledges and 
promises which language has no power to pourtray. 

It may here be remarked, the hair and skin of the negro 
are not less dark than they were 3000 years back in time. 
The Arabian still refuses to cease his wandering, and is a 
child of the patriarchal age. The Hindoo has not changed ; 
and an eminent authority, Dr. Morton, says the characteristic 
features of the Jews may be recognized in the sculptures of 
the temples of Luxor and Kornac in Egypt, where they 
have stood for thirty centuries. The mighty hand of the 
Creator has deeply impressed his command on the coun 
tenances of the human race ; for uninterruptedly as one 
generation passeth away, another cometh, alike in form, 
structure, and habits, and even in limit of existence ; and 
man, however exalted by education, and midst the sparkling 
lamps of the halls of civilization and refinement, is yet born 
the same helpless, dependent creature as the first children of 
Adam. Here the great Record of records, the voice of heaven, 
may be quoted, for it says, that " God hath made of one 
blood all nations of men to dwell on the face of the earth." 
We are aware that some have thought the negro and some 
other races may not be included in this record ; but 
Lawrence, in his renowned lectures, says the notion of 
specific identity between the African and ourang-outang 
is as philosophically false, as morally infamous. 

The children of man have varied characteristics, as 
various as the colours of the rainbow. The natives of 
the still monotonous wilds of Siberia, and those of the 
burning fires of a torrid zone; the Georgian beauty ; the 
Spanish fair; the mystic Turk; the bland and heroic 
French ; the barbarian of Moscow ; the serious, noble, and 
kindly English, must surely bear differing aspects amongst 
their fellows, and in no respect will such difference appear 
more decided, than in the expression of the eye. The pre- 



44 THE LANGUAGE 



vailing mental expression of a nation may be defined; 
yes, the standard of morality, and even the degree of 
happiness, civilization, or freedom. 

The eye of the Scotch moves slowly and within a narrow 
sphere, until he has attained his object ; the Irishman 
displays the open courteous expression in the eye, which lulls 
all fear ; the English speak contemporary with their eyes, 
so that you cannot mistake. The Italian's eye glows with 
ardour, which flashes across his sunny face like sunbeams 
o'er a stilly lake ; whilst in the northern parts of Europe 
we observe the eye apparently in repose, reflection, and 
even reserve. Look on the nations under slavery ; how dull, 
sullen, dissatisfied, is the expression of the eye, as though 
rapture and real temperament were put back for want of 
exercise of independence ! Those to whom every golden 
morn brings fear and fresh degradation, with them the 
brows and lids are contracted; the eye moves heavily, 
slothfully, and timidly, and mostly in direct lines, 
destitute of animation, expressing deep misery, or furious 
anger. But when liberty opea—its gladdened path, 
the eye kindles with a brilliancy ; where the breast 
of every individual beats to the trumpet of independence, 
uncircumscribed by the will of any kind of tyranny, or by 
the terrors of the power of any hierarchy ; where all the 
citizens are equals ; where talent and industry have their 
meed of praise and reward ; where life is considered the 
gift of Grod, rendering every man accountable to Him 
alone : then we see the eye open, free in motion, firm, 
and fearless. The expression of the eye of a nation will 
necessarily be varied in some cases, and especially in 
these times, when a fraternization has been opening to a wide 
extent, and which is daily (happily) rendering distinctions 
of every sort less arbitrary. Wherever virtue, moral 
courage, honour, and love are, they will express them- 



OF THE EYE. 



45 



selves, yet every circumstance surrounding may heighten 
or diminish the expression ; and in such cases the keenest 
investigation and the more ample consideration of the 
philosophic are needful, ere the predisposition or nature 



can even be suggested. 




46 THE LANGUAGE 



CHAPTEE VIII. 

EXPRESSION OF THE SEXES COMPARED. 

The mind of woman being so much more gentle, delicate, 
receptive, and passionate than that of man, so its portraits 
or outward aspects must vary. The devotion of woman, 
her confidence, her ardent and ready dependence could not 
but require very especial lines and contours for its ex- 
pression. She, who lives in passion and delights in its 
companionship, fears not its woes and dangers, is deaf to 
the appeals of reason and judgment when the idealities 
of her soul are before her, must surely need some 
different interpreter than one who is too often led by 
the graven images of covetousness, and all the time- 
serving principles of a cold and rugged world. She, 
who often defies the rules of the world, and prefers 
eddies, sands, and rocks, to the temperate and safe waters 
of worldliness, is surely entitled to different light — far 
different hues and shades, points and boundaries, for 
definition of her exquisite and buoyant spirit — she who is 
queen in a kingdom of the most precious vitalities — empress 
in the midst of heroic and romantic spirits, whose career 
is amidst the forked lights of dangers and dismays, and 
whose uncompromising and vaunting herald challenges 
the whole world of spirits to antagonism, when contending 
for the object of her love. Goddess amidst mystic scenes 
and circumstances which cannot be defined — priestess of the 
wand of divination, which she bears to awaken fairies 



OF THE EYE. 47 



and satyrs to the resolves of her soul, to listen to Pan's 
arcadian notes in eve tide hour — to waken Echo from her 
retreat — she who leads the loves of angels, and presides 
at the festivities of spirits requires different materials to 
define those orbs which evince ceaseless inspiration. That 
soul may often be seen looking through the brilliant 
transparencies : observe her at her toilet, preparing for 
the presence of her loved one ; or at her balcony, listening 
to a serenade from a voice she loves; seeking some 
trance of love — some dream — in presence of the smile 
of Luna and her train of children. Lovely woman, 
for whom battles, dire and bloody, falchion to falchion, 
have met ; for whom the diver takes his wondrous way, 
midst clanging of deafening waters ; aye, in the very 
path of the Leviathan amidst those coral towers, where 
the waves, the minnow children of the sea, play their 
buoyant antics to please the mermaids in the ambient 
sports. Woman, for whom ten thousand lamps are lighted, 
and sounds of sackbut and psaltery, and tender shrill toned 
flute are played ; for whom Coridon pipes his notes, and 
Endymion vies with the wildest notes of the winds, that 
he may win the smiles of the graceful Diana. 

For woman the haughty winds are encompassed ; for 
her man was made, and Eden's breezes sighed ; she 
has a mien, a glistening radiance in her eye, a being, a 
personality, which cannot be described by the same lines 
and contour as that being who steps in confidence, 
unbaffled by feeling. 

With her the central point of influence is the heart ; 
all her inclinations and impulses issue from this holy 
spot, and all sensation and feelings tend towards it. 
Her emotions are stronger and more vivid than man's, 
and, therefore, the eye is a more certain and immediate 
telegraph and communicator. The more intense and 



48 THE LANGUAGE 



absolute the feeling, the more striking and expressive will 
be the pictures which appear in those beautiful windows 
of the eye. The eye of woman is a faithful thermometer 
and index, whereby the warm-hearted, the congenial 
and sympathizing, may see the working of the holiest 
of all spirits, namely, woman's heart. Alas ! the cold- 
hearted and calculating, the selfish and designing, struggle 
to learn therein the secrets and confidence of that best of 
beings ; however, innocence itself has powers to encounter 
the ruffian gaze, and casts it aside for ever — the panoply 
of innocence ! 

How different is the mind of man ; he is reflecting ; 
divested of mere affections and feeling ; far from the world 
of the heart, with capacity which urges him towards 
things palpable, and not easily moved except under 
extreme excitement. 

In man, the eye generally tells of seriousness, resolu- 
tion, and firmness ; whereas, in woman, there is serenity, 
softness, and compliance. But, hear, ye heavens, listen, ye 
winds : there are times when the expression of woman's 
eye is far more expressive and indubitable than in mam) 
When her best and dearest feelings are disregarded or 
violated, she heeds no powers or difficulties, no distance, 
no dangers; no haughty domination or conventionalism 
can then stay her in her course for justice or vengeance ; 
she revels and absorbs her soul in wild and ungovernable 
feelings ; it is then the hard sarcasm of the unmanly and 
unfeeling is heard : for she, poor, beaten, forlorn, infuriate, 
in the midst of feeling can bear no more ; but, at last, 
like the panting deer, the wandering lamb, bows her 
gentle head under commotions too strong for angels to 
bear ; then it is her soul leaves every gate open to the 
vulgar gaze. 

There is also a time, happy and joyful, in which the 



OF THE EYE. 49 



angels participate, when the rapture of love or joy has 
taken possession of woman's heart ; then, in the fulness of 
her nature, the unrestrained emanations of her soul are 
seen delineating themselves on the painted windows of 
sight ; her spirit seems to hear, to speak, to see, to dance, 
and revel in its spangled hall. Then comes the swelling 
and beating of the sphere of sight against its casement ; 
it undulates and lights up, rendering to lovely woman a 
fairy-like characteristic. This radiant beaming is not 
lasting, but like its own sweet owner, it plays its moment 
on the surface, then darts away to make place for other 
influences. 

Moore says : — 

Oh ! what a pure and sacred thing 

Is beauty, curtain'd from the sight 
Of the gross world, illumining 

One only mansion with her light. 

Unseen by man's disturbing eye, 
The flower that blooms beneath the sea 

Too deep for sun-beams doth not lie, 
Hid in more chaste obscurity. 

We agree with those philosophers, who consider that 
woman is much more pure, tender, delicate, excitable, 
affectionate, flexible, and patient than man — the primary 
matter of which she is constituted being more flexible, 
irritable, and elastic than that of man. She is formed for 
affection ; all her nature is tender, yielding, easily wounded, 
sensible to every influence. Woman was taken out of 
man, to be subject to man, to solace him, and to lighten 
his cares by her presence and sensibility. Perhaps woman 
is inferior to man in general, but superior in particular. 

Otway says : — 

Angels were painted fair to look like her : 
In her there's all we yet believe of heaven — 



50 THE LANGUAGE 



Amazing brightness, purity, and truth, 
Exceeding joy and never-ending peace. 
Shakespeare says : — 

The hand that made you fair, hath made you good. 
The light texture of her fibres and organs, render her so 
easy to conduct to excellence ; so ready of submission to 
the enterprise and power of man. Woman is capable of 
being formed to the purest purposes ; to everything which 
can deserve praise or affection ; highly sensitive to beauty 
and symmetry, she does not always take time to. reflect 
on extreme consequences where love is involved. 
Euripides says : — 

That love alone, which virtue's laws control, 
Deserves reception in the human soul. 
But woman says : — 

Time, force, and death, 
Do to this body what extremes you can ; 
But the strong base and building of my love, 
Is as the very centre of the earth, 
Drawing all things to it. 

To think profoundly is rather the province of the man ; 
sensibility lives in the magnificent dominions of woman. She 
rules more effectually than man ; her power is by tender 
looks, tears, and sighs — capable of the sweetest sympathies, 
the most profound emotion, the utmost humility, and the 
excess of enthusiasm ; in her fair countenance are the signs 
of sanctity and innocence, which produce miraculous results. 
By the irritability of her nerves, arises incapacity for deep 
inquiry and firm decision ; her extreme sensitiveness some- 
times emboldens her to traverse dangerous paths, and 
sometimes she affects to rejoice in that which agonizes 
her, and, at times, she becomes the most rapturous 
enthusiast. 

A woman moved, is like a fountain troubled — 
Muddy, ill-seeming, thick, bereft of beauty ; 



OF THE EYE. 51 



And while it is so, none so dry or thirsty 
Will deign to sip, or touch one drop of it. 

Woman's love is strong rooted, though occasionally rent 
up in a moment; her hatred is almost incurable. The mind 
of woman is most sublime ; of man more profound. Man is 
required to prepare for the world, as the Athletae did for 
the exercises. His duty is his life : for this he unites 
manners with mindj^ suppleness with power, as he well 
knows mere strength will not perform some of the greatest 
works. Man most embraces the whole ; woman remarks 
individually, and takes more delight in selecting the 
minutiae. Man receives a ray of light single ; woman 
delights to view it through all its dazzling colours. She 
contemplates the rainbow as the promise of peace ; he 
extends his inquiring eye over the whole horizon. Woman 
laughs ; man smiles. Man seldom weeps, but when woman 
sighs : — '■ 

Sorrow, like a heavy hanging bell, 
Once set in ringing, with its weight goes, 
Then little strength rings out the doleful knell. 

Woman is in anguish when man weeps, and in despair 
when he is in anguish ; yet she has often more faith than 
man. Woman is formed to piety and religion. To' her 
Christ first appeared ; but he was obliged to prevent her 
from too ardently and too hastily embracing him. Woman 
is prompt to receive and seize novelty, and become its 
devotee. 

It matters not that she from Heaven hath come, 

Or, as Moore says : — 

Alas! too well, too well they know 
The pain, the penitence, the woe, 
That passion brings down on the best, 
The purest and the loveliest. 



E 2 



52 THE LANGUAGE 



The whole world is forgotten in the emotion caused by the 
proximity of him she loves. We remember an instance 
of a lady darting into the field of battle, to seek the 
body of her husband ; shot and ball flew around her, but 
all spared her to perform a work of joy. The lovely 
Artemisia, daughter of Xerxes, went in the middle of 
the night to the camp of Leonidas, to ask his permission 
to seek the body of her betrothed one. Many such 
instances could be quoted, for devotion is a principle with 
her. Woman occasionally sinks into the most incurable 
melancholy, or rises to the most enraptured excitement. 
The feelings of man are more reflective ; those of woman 
more hearty, whole, and impassioned. When commu- 
nicative, she is more communicative than man ; when 
secret, more secret. In general she is more patient, 
long-suffering, credulous, and benevolent. Man singly 
is but half human ; and until the golden union, they are 
but parts of a single nature. Shakespeare speaking of 
Blanche, says : — 

He is the half part of a blessed man, 
Left to be finished by sweet Blanche ; 
And she a fair divided excellence, 
Whose fulness of perception lies in him. 
Two such silver currents when they join, 
Do glorify the banks that bound them in. 

The eye of man is the most firm ; woman's the most 
flexible. Man's moves more direct and steadfast ; woman's 
more gentle and waving. Man's surveys and observes ; 
woman's glances. Man is serious; woman is joyant. 
Man's eye is more often dark or brown; woman's blue 
and grey. The hair of man's eye-brow is more abun- 
dant, strong, and loose ; woman's finely pencilled. The 
eye-brows of man are compressed; of woman less 
frowningly. Man has most convex lines ; woman most 



OF THE EYE. 53 



concave. Man has most direct lines ; woman most curved. 
The nervous system of woman is more mobile than 
that of man ; her forehead should be fully developed, 
her face oval, and in her lower features should be 
modesty and dignity; but in all woman's beauty and 
distinction, the organs of sensation should be far more 
developed than that of the understanding and reasoning 
faculties. The circulation and respiration have less force, 
but are more rapid ; the surface and the extremities of the 
body are more readily supplied, and, owing to the trans- 
lucency of the skin, the slightest emotion brings beautiful 
tints to the surface. The bust of woman should be 
round, and distinguished by its volume and elegant 
contour, which should contain serpentine lines or parts 
of a sphere, t The eye of the extremely passionate woman 
is of the softest azure ; and in a well-developed woman 
all the organs of sense are small ; but the sensibility 
is more vivacious and quick ; hence her mental vivacity 
and acuteness is greater, as her perceptions appear with 
in tenseness and promptitude. The countenance of man, 
taken in profile, is more seldom perpendicular than 
that of the woman. All her movements of body are 
made to perfect the purposes of feeling, and in -such 
an easy and buoyant course, that you cannot but 
detect therein a certain ethereal nature of mind which 
is rarely seen in man ; and, in the most gentle and 
delightful moments of thought, her body is naturally 
thrown into attitudes which communicate a like softness 
to the mind of the beholder, — it is then one of the 
apparitions of divinity overshadows materialism with its 
ineffable light and glory. Whatever is of love, and truth, 
and grace, will be so in expression ; then comes that 
elevation of mind, that happy consciousness of the 
presence of virtue, which dignifies passion and realizes 



54 THE LANGUAGE 



the sweetest radiance in woman's eye. All seasons and 
times prove her excellence and distinction; but none so 
much as the shade of affliction and scenes of woe. It is 
not surprising her soul should express itself in a very- 
different manner to that of man ; there it sits, as a lady 
in her bower, singing soft songs of love and charity. 
Look upon the windows of her soul — those beautiful orbs 
will tell sweet history and romance. 

Oh ! what a depth of witchcraft lies 
In the small orb of one particular tear : 

But with the inundation of the eyes, 

What rocky heart to water will not wear ? 

" Of all the passions of woman," says Kicheraud, " love has 
the sway, and all other passions are modified by this, and 
derive from it a peculiar cast, which distinguishes them 
from those of man." Fontenelle used to say, " with woman 
man is more than a nation." " Love," says Madame de 
Stael, " is but an episode in the life of man, but the 
whole history of the life of woman." In regard to personal 
expression, we may acknowledge we do not believe its 
perfect demonstration can be seen until the passions have 
arrived at maturity, and held holy councils, and adopted 
their idealities ; then, sweetened by the accession of love, 
the person assumes the modest and charming features of 
womanly beauty : yes, then her soul seems to have arraigned 
every sense to attend its great enthronement, and shines 
midst spiritual light, intellectual fervour, and the exquisite- 
ness of materialism : then ensues that sweet enthusiasm of 
action, which goes hand in hand with the graces, and 
woman is enshrined in the highest glory of earthliness. 
Sensibility in woman is greater than her understanding ; 
the involuntary play of the imagination than its regulated 
combinations ; and passion is generally of the gentler 
kind, rather than resolve or determination : she has more 



OF THE EYE. 55 



activity than force of thought, and her nervous powers are 
more frequently disordered than man's. 

Woman would trust for endless years ; to man she 
tells her heart, and lays before his oft regardless mind 
jewels of countless value, the secrets of her soul, its parian 
innocence, its glistening life-like love, and all its hopes 
and fears, its joys and woes. To her the presence of the 
man she trusts is the presence of an angel, from whom 
she withholds none of the wild delights and ponderings 
which occupy her reveries. She even regards man as the 
minister between her and the supernal kingdom. There 
have been times, when overtaken by some temptation, 
and dizzy in the midst of abandonment, conscience 
presents to her some one of the apparitions of eternal 
beauty ; she hastens to confess her sin and suffering ; she 
goes to the anointed of the Church, and undraws that 
curtain, which screens from the common eye all the 
infinite genii, who are her tempters ; her eyes, suffused in 
woe, are hidden by the beautiful lids, and she believes 
he will be her saviour from the magic spells. Often 
she describes to him the indwelling agony which has 
taken possession of her soul, in its contests with the spirit 
of holy love. She recites the woes her waywardness has 
created, and in maddening horror, in direst penitence, she 
asks the way to Heaven. 



56 THE LANGUAGE 



CHAPTER IX. 

EXPRESSION, AS INDICATIVE OF CHARACTER. 

The expression of the eyes, even in the same subject, will 
not always give the same indications, although the scene 
and circumstances may be exactly the same. The same 
circumstances, with persons of even the same temperament 
and age, will not always affect the eye alike, owing to short 
sightedness or some other defect. An extreme state of guilt, 
with habitual vice, will sometimes hide and coil itself so far 
within the heart, that the eye does not reveal all which is 
passing and purposing there. But a few glances from the 
eye of a man of sound heart and mind, will generally con- 
vince him whether the mood of mind apparent in the eyes 
is natural, or temporary and artificial. The leading features 
of the mind cannot long escape the strict and intelligent 
observer, i.e., whether there is prevalent and habitual vice, 
or a delight in virtuous duties; and even what is the 
leading vice or active virtue. We consider the intentions 
may be most readily detected by the innocent and the 
most intelligent; and, although the tongue may declare 
differently, it rarely evades the searching spirit of innocence. 
The youthful Prince Arthur soon detected some hidden 
purpose in the mind of Hubert, who was commissioned to 
put out the eyes of the priDce. The reader will remember 
that interesting colloquy, commencing — " Are you sick 
Hubert?" See Act IV., scene 1, of King John. 

If this is so, how important is it for those who are busily 



OF THE EYE. 57 



engaged with men with whom they must often deal at first 
sight ; how important for the physician, the divine advocate, 
or the counsel examining witnesses and watching the 
countenances of juries, to have some rules and signs to 
aid their acute judgments. It is true, the conscience is a 
light which will burn ; and, although its owner may cover 
it with all sorts of vapours and delusions, yet this holy and 
imperial dynasty is not to be wholly ruled by man ; but 
ever and anon its lurid sparks may be seen glittering and 
glistening in the mirrors of the soul to obey the commands 
of Deity. 

Doubtless the mouth takes a considerable share in 
expression ; yet the mouth does not observe, but merely 
communicates. Some have thought the mouth more 
influential in expression than the eye ; but whilst we 
believe it possible that some instances might be given 
where the mouth is far more communicative than the eye J 
and, that if the eyes in the portraits of some persons were 
hidden, the observer would more readily detect the likeness, 
than though the eyes were shown and the mouth hidden ; 
yet such cases are rare, and it is to be remembered the 
features were intended to act together, and not separately. 
We suspect Van Hamburgh would have been torn to 
pieces by the lions and tigers, if his eyes had been hidden ; 
doubtless all his features aided him in ruling those mighty 
monsters. As well might the arms say, they were inde- 
pendent of the legs or feet, as one feature declare its 
indifference to the existence of another. 

The form of man was furnished with exact provisions, 
equalities, and dependence, so that every part might be 
most healthful and delighted, when acting in concert with 
every other part. It is amongst the principles of nature 
that the exercise of any function realizes power and 
development ; and as such power and development increase, 



58 THE LANGUAGE 



they render a particular and permanent expression ; and 
the more the eye or any other organ is stimulated and 
excited, so as to be reflective of the mind, the more will 
be the development of the organ. 

Whilst we shall contend the eye takes the lead in 
expression, we must admit the other features (especially 
the mouth) bear the stamp of passions, of genius, of 
intelligence, and incapacity; and it is the brain, acting 
through the nerves, which animates the muscles of the 
nose and the mouth. For ourselves, we insist, the eye 
only expresses by dictation of the brain, and, indeed, is 
the brain. This is especially evinced, where the eye 
has practised any feeling, although it be but artificial 
and affected. Amongst the great writers on this subject, 
may be named, Magendie, C. Bell, Camper, Berkeley, and 
the very celebrated Cuvier. But the vivacity of nature ; the 
variety of temperament and idiosyncracy ; the influence of 
education and climate ; food and clothing ; sciences and 
tastes, all influence the expression of the eye. It some- 
times assumes a climatic stamp ; indeed, the eye of man, 
like the colour and quality of flowers, varies in various 
climates, so much so that most learned philosophers often 
halt, and avow themselves puzzled, and even confused, 
as one looking on a dizzy cataract of waters. The 
eye occasionally seems to defy the criticism of fellow - 
mortals, and to say I also am divine, and will not be 
searched into, except by my Creator. We must say no 
more on this part of the subject, as we have promised to 
write in a popular manner ; but for this we should delight 
to explain the nature of sensation, sympathies, and syner- 
gies, and explain direct sympathies in variance with 
cerebral sympathies ; and, although all these subjects 
appear very technical and tedious, we would again assure 
the reader, the more they are investigated the greater will 



OF THE EYE. 59 



be the delight and ennobling influence of this knowledge. 
Even the varying opinions of physiologists may be con- 
sidered with advantage : one will tell you (Whyatt) that 
sympathies are to be referred to the soul ; whilst Professor 
Roux considers them independent of organization and 
having actual existence. 

We have observed that symmetry exists in statical equi- 
librium, i.e., when the object has acted, or been acted upon, 
and taken its final posit, or determined its permanent axis ; 
whereas, expression defines itself in vitality and action ; 
for instance, the motion of the eye gives expression, whilst 
its shape and motion give its symmetry. 

As we have said, some important expression is sustained 
by the mouth, yet all who have studied the nature and 
philosophy of the countenance, have deemed it always 
essential to consider the presence and influence of the eyes 
as the chief ministers of the face. On the general axioms 
and assumed principles of phrenology and physiognomy, 
the difference of philosophers have been wide and various, 
and every age has produced disciples and new teachers. 

Perhaps the Greek profile, as it represents the eye, is a 
characteristic of sweetness and beauty. This profile is 
produced by a line very slightly indented, which the fore- 
head and nose form in youthful faces, especially of females. 
Nature seldom accords this form to the face in cold climates, 
but more often in mild and temperate ones ; but where this 
form is seen, we see beauty. The Greeks thought the 
more angular the eye, the less beautiful and trustworthy 
the face. If the bulb of the eye is level with the orbit, there 
will be no effect produced of light and shade ; and, there- 
fore, little to trust or understand. Where the eye itself is 
placed under eyebrows which do not project, the expression 
is dreary and dull ; in such you may fear the lower pas- 
sions, such as love of money and gain, are more dominant 



60 THE LANGUAGE 



than the idealities of imagination or love : if this eye is 
united to a small ear its owner is conceited and sometimes 
worse. Tranquillity in the eye is part of the province of 
beauty, — this principle was well known to Grecian sculp- 
tors, who rarely presented their chefd'ceuvres in passionate 
display. If the eye is in repose, the other features generally 
concord to that dictation, and then the face represents 
the nature and quality of the spirit : so we see to the 
bottom of seas and rivers when the waves are tranquil, and 
the stream runs smothly. (See Treatise on the Passions, 
by Carlo Le Brun.) The Grecians represented the eye 
in their best works as placid : indicating such was the 
divine expression ever seen in their gods. (See Storia 
delle Arti.) Great and signal expression requires motion 
in the eye; yet much grace cannot exist with much 
impassioned convulsion. In the works of the Grecian 
sculptors they uniformly preserved composure ; and, 
therefore, the highest power wholly unexhausted, their 
single figures and even their dancing figures, were never 
allowed to exhaust their expression. Perhaps the ancient 
figures might furnish an excellent model, to prevent the 
moderns from outstepping the bounds of a modest deport- 
ment. Propertius says — 

Molli diducunt Candida gestu Brachia. 
Indeed, no violent passion or immoderate evolution can 
assort with beauty ; it yields none of beauty's loves and 
fears. Kepose in the eye is one of the very express 
images of innocence, goodness, power, and nobility ; no 
fear is there, but full possession of great virtue, and the 
companionship of angels ; there you see no hard or rugged 
line on that heavenly face. The ancients sought for 
expression in the eyes of their gods, as betokening motives 
far superior to their own ; and, therefore, the expression of 
eternal peace and youth was ever adopted. (See Monu- 



OF THE EYE. 61 



menti Inediti, commencing, — " Costoro volentio proporci 
delle immagini da venerasi.") 

The intelligent Combe insists, that the exercise of 
particular attributes of mind produce a more or less 
development of certain parts of the head ; and that even 
the expression of the countenance would depend more 
upon the habitual exercise of certain virtues and vices, 
than upon original and natural physical materia. There is 
certainly much in this view which encourages the exercise 
of noble and exalting principles, rendering even the outside 
of this wonderful being somewhat susceptible to its owner 
for expression of beauty and dignity. The renowned John 
Casper Lavater has left an expansive record of his deep and 
sincere study of the human countenance, and various are 
the philosophers who have subscribed to many of his axioms ; 
yet, we may say, all men may be physiognomists ; indeed, 
all men are so in a degree, and must ever depend on their 
judgment of expression of the countenance of their fellow- 
men as their first, and often their only guide, in many of 
the most important transactions of life. It is needless to 
insist that the senator, the judge, the advocate, the man of 
war, the merchant, the lover, and the loved, do all, more or 
less, depend on their judgment of the human countenance, 
ere they treat and contract. What price would they give 
to bear about them some certain talisman, some unfailing 
guide ? Alas ! such cannot be purchased by the riches of 
Peru, or the diamonds of Golconda. "We tender some sug- 
gestions, to aid in that very important inquisition, which we 
are often required to make and determine. It is our duty to 
repeat there is no part of the countenance so communicative 
as the eyes ; their motion, colour, shape, size, &c, are all 
worthy of remark ; and, at the same time, we must be allowed 
to make a few suggestions as to the eye-brow, which occa- 
sionally exercises considerable influence in expression, and 



62 THE LANGUAGE 



is less capable of evading the criticism and observation of 
the beholder. We have always preferred to act under the 
dictation of a judgment formed from personal interviews, 
than by the strongest recommendation or exposition of 
character furnished to us by others ; yet we would not 
presume to announce axioms as simply from our own 
experience ; but we do unhesitatingly say, we subscribe to 
the opinion of those philosophers, who say blue eyes are 
generally more significant of gentleness and yielding than 
brown and black. Speaking of blue eyes, an early poet 
says : — 

Oh ! that is beauty, might ensnare 

A conqueror's soul, and make him leave his crown 

At random, to be scuffled for by slaves. 

True it is, there are many powerful men with blue eyes, 
but more strength, manhood, and thought are combined 
with brown than with blue. A man with small ears, must 
have a large, noble eye, or he is full of conceit. He is one 
of those coxcombs who are on excellent terms with them- 
selves, who with dull mediocrity of talent, and living on 
superficiality, presume to address the intellectual. He is 
one of the noisome weeds in the garden of life, and grows 
near that night-shade — ingratitude. 

It is said that choleric men have eyes of every colour, 
but more brown than blue. Clear blue eyes are seldom or 
ever seen in the melancholic, but most in the phlegmatic 
temperament. When the under arch described by the upper 
eye-lid is perfectly circular, it indicates a pious disposition, 
fearful, but free from selfishness. When the eye-lid forms 
a horizontal line over the pupil, you are looking on a very 
able, versatile man ; it may be seen in worthy men, but 
generally in men whose penetration is allied to simulation. 
The important and presumptuous carry a wide, open eye, 
showing much of the white : — 

This is a fellow wise enough to play the fool. 



OF THE EYE. 63 



The determined and the undetermined will easily be 
distinguished ; the eye of the former is ever fixed, whilst 
the latter moves rapidly; the former are more strongly 
delineated, have thicker, better cut, but less glistening 
eye-lids. When very large and extremely clear, and 
almost transparent in profile, they describe promptitude 
and great capacity, with extreme sensibility, and much 
inclined to enjoyment and difficult inquiries. There is a 
small, black, sparkling eye, under strong black eye-brows, 
deep sunken ; its light is almost phosphoric — the man with 
this eye must not be trusted : if unaccompanied by a 
jesting mouth, you may anticipate cool reflection, taste, 
accuracy, but an inclination to avarice. A pretty woman 
may have this eye, and be worthy of love, butjaot friend- 
ship. It sometimes seems as drawn by Love's own hand — 
by Love himself in love. Eyes which are almost pencilled 
with the profile of the nose, without standing forwards 
from the line of the head, denote a weak organization, and 
generally feeble powers of mind. 

Eyes which are smooth when they appear cheerful, 
appertain to pusillanimous characters. The highest power 
of man's eye is reserve, of woman's is action. 

Eyes with long, sharp corners, w T hich do not turn down- 
wards, with thick skinned eye-lids, are sanguine and 
indicative of genius. This eye regards not the precepts 
of science, but realizes excellence out of the reach of 
the rules of art : and this power induces the weak to 
charge the owner with madness ; yet, if they temperately 
observe him, they will acknowledge he bows before the 
highest reason. Against this eye many dunces confederate. 
Horace says (speaking of Genius) : — 

He alone can claim that name, who writes 
With fancy high, and bold and daring flights. 

Secondary men may be mixed up like spices or pickles ; 



64 THE LANGUAGE 



but genius is one bright essence, indivisible ; like the 
evening star, it dwells alone. Cicero says : — 

All great men are in some degree inspired. 

Trust that eye which gives you an idea its owner is at 
ease. Your admiration will increase on examination : 
there is beauty which accords with reason, and is not 
merely a creature of fancy. A well-formed forehead and 
open eye fears nobody, being itself power and generosity. 
Cicero says : — " There never was such a great man but by 
divine inspiration." This is the man who is above grief; 
abhors buffoonery ; will never be unjust ; and, if it were 
not for the compassion of his heart, he would be invul- 
nerable. 

He's armed without that's innocent within.- — Horace. 

Eyes which are large, open, and clearly transparent, and 
which sparkle with rapid motion, under sharply delineated 
eye-lids, certainly denote high qualities, quick discernment, 
elegance and taste, irritability, pride, and ardent love. 
This eye the Italians describe as Bellezze pelegrine. 

"Weak, small eye-brows, with little hair, and very long 
converse eye-lashes, betray their owners as mean and 
weak, and remind you of Shakespeare's words : — 

Alas ! how is it with you, 
That you do bend your eye on vacancy, 
And with the uncorporeal air do hold discourse ? 

The tranquil, powerful, quick glancing, mildly pene- 
trating, calmly serene, languishing, melting, slowly moving 
eyes; eyes which vault against their casement, radiate 
as they move, and colour their object like themselves, 
and are a medium of exquisite or spiritual enjoyment, are 
never very round, nor entirely open, never deep sunken 
or far projecting, never have obtuse corners or sharp 



OF THE EYE. 65 



ones turning downwards ; but are apparitions of beauty, 
lighting and delighting everywhere. Trust, love, live for, 
labour for, hope for, fear for, wait for, die for those eyes, 
for you will see them in heaven. 

There is a blue eye, dull, sharply defined, which illumes 
a dark delve, under a bony, almost perpendicular, forehead, 
which in the lower part sinks somewhat inwards, and above 
is conspicuously rounded, which never attends the gene- 
rous or wise, but generally heralds the proud, suspicious, 
mean, and cold-hearted. The more the upper eye-lid, or 
the skin below, or above the ball of the eye, appears well 
defined, shading the pupil, the more it characterizes refined 
sense, amiable love, truth, and eternal delicacy. 

Beauty knows beauty, loves her, reflects her. Trust 
not that man whose eyes can coolly look upon the object 
which should be the most sacred object of his adoration, who 
expresses not veneration and reverence : such can make 
no claim to sensibility or spirituality. Trust him not, he 
cannot love, nor be loved, no lineament of the countenance 
full of truth and power can be found with him. He is to 
be seen with projecting rolling eyes, with oblique lids, or 
deep sunken small eyes, under a perpendicular, hard, long 
forehead. 

Eyes which show the whole of the pupil, and white 
below and above it, are either constrained or unnatural, 
and only observable in restless, passionate, and half-simple, 
persons, and never in such as have a correct, mature, 
sound, unwavering understanding. 

Fixed, mild, open, projecting eyes, in insipid counte- 
nances, are pertinacious, without firmness ; dull and foolish, 
with pretension to wisdom ; cold, though they wish to appear 
warm; but are only suddenly heated, without inherent 
warmth. Eemember all men must die: the mean and 
hard-hearted; whose eyes have preferred to see their 



66 THE LANGUAGE 



counterfeits of peace, rather than happy living, intelligent 
countenances. They also must be there at the judgment ; 
and then, as here, you will see their small grey eye, peering 
about from the tottering throne of avarice. 

The eye of some is full of romance and feeling, and 
seems to pourtray varied pictures. In some you seem to 
see foreign lands, sweet wild scenery, and Fancy walks by 
Ganges' side or Amenia's wilds. In some you may behold 
lighted halls of pleasure, where living stars of loveliness 
wear their silver and golden raiment. In some eyes you see 
genius stepping forth, clad in the grandeur of contemplation, 
and wearing the damp and fervid heat of ambition : 'tis on 
such occasions you may see the spirit sitting on its throne 
of light eternal. The beauty and spirituality of some eyes 
exceeds the status of mere reason, and yields a path for the 
majestic step of imagination. Through the eye, love beams 
and hovers, imparting a luxuriant animation, which causes 
adoration. The mouth has its beauties and indications, but 
requires the aid of other features ere it announces much 
passion or feeling ; its progress is slow and irregular, so 
that we soon seek those channels through which spirits 
congratulate, contend, and sympathize : 'tis there an altar 
is everburning ; 'tis there we take great problems and anxious 
theorems for those alchymists to expound and render intelli- 
gible. Eapidly, perfectly, and with minuteness is every con- 
ceit of the soul rendered intelligible; those oracles, ancient 
as the archives of heaven, give language of truth's eloquence, 
more faithful than any other outward communication. The 
eye speaks in a language never before spoken, and which 
belongs to no place, yet is everywhere acknowledged. It has 
never submitted to be written, and defies transcription of 
the indifferent. Its tones are softer than a sigh, and yet 
as loud as the blast of the wild gales which traverse the 
Atlantic. This incomparable power dashes through all 



OF THE EYE. 67 



distance and all space, and passes through climes illimitable ; 
and pourtrays to its devotees, distant lands, clashing of 
arms, the soothing murmur of the western waves, love's 
holy places, the murky paths of revenge, the seat of sorrow, 
and mount of hope. 

This beautiful organ is one of the spirits of truth, 
enlightening the spirits of mortals, from the cradle to the 
grave. Even the clenching hand of death cannot darken 
this wondrous power, but it is the first spirit to cry out, 
" Vital spark of heavenly flame ;" the first to hear, " Sister 
spirit, come away." Doubt not, reader, that the eye hears ; 
the sympathy of the senses is undoubted. 

The earth, the air, heaven, and all worlds are full of 
eyes. God's kind eye meets man's eye ten thousand times 
in a thousand places, and under many and varied circum- 
stances. The sublime volume of revelation is full of eyes ; 
nature is full of eyes ; the past, the present, and the future 
are full of eyes ; there is concord of sweet looks for the 
virtuous, but the selfish and unjust fear to look on the 
walls of time or in the clouds of eternity. Shakespeare 
speaks of " the mind's eye;" here, as everywhere, he was 
correct. There are spectres — spirits, embodied and disem- 
bodied — all with eyes. The eternality of sight of .the 
searching One is ever before us ; we bow, we shrink, and 
the proud ones cry for mountains to fall upon them, to 
hide them from the eye of Almighty power. The child 
of genius, the hour of despair, the delight of love, the 
waiting of fear, the burst of joy, the gleam of revenge, 
the purposes of imagination, and all the towering plans of 
souls, in time and eternity, are told by the eye. 

The eye of genius commands all time — the past and the 
future are part of its domain, and as it proceeds in its excur- 
sions and exercises, amongst its many worlds, it encounters 
varied visions : it sees Athens full of eyes ; the works of 



68 



THE LANGUAGE 



the sculptors of ancient Greece and Eome ; the plains of 
Marathon, and the straits of Thermopylae; the games 
(Olympic) are again seen ; the radiant eyes of the 
gladiator again roll in anguish, and the great amphitheatre 
again heaves with the weight of the thousands who 
praise the tragedy of Euripides, and the comedy of 
Sophocles. 

Time and its worlds of definition present no boundaries 
to the sight of mind and genius. Many a tyrannical spirit 
has quailed before the soul's declarations, communicated 
through the eye. Many a fainting heart has been en- 
couraged by one glistening ray from this lamp of the soul. 
Many a pardon, many a promise, many a vow has required 
no greater declaration than that which the beam of the 
eye has emitted. Ali Pasha selected one man from twelve 
thousand (who had offended him twenty years before), and 
ordered him to be shot. Cohorts of soldiers and mailed men 
have watched a Caractacus or a Napoleon, whilst the beams 
from the eye have so aroused, encouraged, and persuaded 
men to die in triumph and rejoicing. Desdemona could 
see the soul of Othello through those glistening avenues. 
Saint Peter was sinking in the waves, until he looked to the 
eyes of his Lord. By the motion of this wonderful organ, 
the dying one has said, "I am hastening to my mansion 
in heaven, and angels guard my head. I fear no evil." 



OF THE EYE. 69 



CHAPTER X. 



EYE-BROWS. 



If the forehead has decided grace and intelligence, the 
brow can seldom defeat this effect ; indeed, the forehead 
generally unites some other kindred expression, which leaves 
no doubt of the dignity of the mind. Perhaps no forehead is 
so rare and so beautiful as that of Shakespeare. The noble 
and good are generally known ; yet, as we have before said, 
we deem the eye-brow very influential in aiding the expres- 
sion of some countenances. Indeed, some are so masked 
with selfish desires, and the versatility of cunning, that the 
eye-brow must be regarded as almost the only part unable to 
hide the worthlessness of its proprietor. There are many 
instances which prove the high degree of intelligence 
expressed by the brow ; amongst such, we quote, Torquato 
Tasso, Boileau, Turenne, Newton, Wesley, Dr. Melville, 
Sir Astley Cooper, Byron, Moore, Scott, Sir Roger Murchi- 
son, Mr. Justice Coleridge, Mr. Rolt, Q.C., Professor 
Ferguson, Lord Justice Knight Bruce, the late Sir William 
Follett, and many eminent men. There is also a female 
dignity of brow, but that is regularly arched, and gives 
the idea of power and beauty. The horizontal brow is 
generally a masculine possession, but when in woman's 
countenance, there is generally an arched line aiding 
the illustration of a gentle heart. There are many rough 
but honest-hearted men, who bear wild and perplexed 
brows ; yet, there are brutal, selfish, covetous ones, wearing 



70 THE LANGUAGE 



this brow; and, unless the hair is obviously soft and 
glistening, you must avoid them, for if they have ardour 
or passion, it has dark and evil engagements. The hairs 
running parallel, as if cut, and at the same time com- 
pressed, are leading indications in man and woman of 
firm understanding, and an unerring perception ; and 
when there is a crescent in the brow when smiling, the 
fair owner of this brow is poetical and imaginative. When 
speaking of the size of the eye, or brow, or ear, the phy- 
sical stature must be considered, and that which would be 
small in one is not in another. Meeting brows give the 
face a crafty and gloomy appearance, and occasionally 
denote dark and dangerous purposes of heart. Wild 
eye-brows, are never found with an absolutely mild and 
yielding disposition. Eye-brows, waving above the eyes, 
short, thick, not long, nor broad, very often denote 
capacious memory. The ingenious, flexile, mild, and 
good, very often have these brows. Thick, black, strong 
eye-brows, declining downwards, close upon the eye, shading 
deep, large eyes, and accompanied by a sharp, indented, 
uninterrupted wrinkle of the cheek, which on the slightest 
motion manifests contempt, disdain, and cold derision, 
and having above them a conspicuously bony forehead, are 
allied to the murderer and general felon, or the brutal 
desire of doing injury to others. If you must ever yield 
to such, do not let them discover they have you thoroughly 
under their influence. There is a sunken eye-brow, which 
tells of the severe and melancholy thoughts which defy the 
light of life to remove ; it never attends the mind of the 
profound, nor is there moral courage or forecasting in such 
countenances. Weak eye-brows denote pusillanimity and 
meanness in man ; and, also with woman, if she is otherwise 
physically strong, but if delicate, you must consult the 
eye itself, as this weakness of brow may be gentleness. 



OF THE EYE. 71 



Irregular, interrupted eye-brows, denote impetuosity. If 
the brow is very near to the eyes, the more earnest, deep, 
and firm, will the character be ; the more remote from the 
ejes, the more volatile, easily diverted from any enterprise. 
"White eye-brows suggest weakness and want of self-reliance ; 
heie the grey mare will be the best horse, and so it should 
be. We know there are exceptions to this rule, where 
the amiability of spirit o'er-shines all physical development. 
The dark brown is power, permanency, defiance of fate, 
bearing vicissitudes, and courteous to death himself — this 
is man. There are motions of the eye which demand more 
notice than the very lines and colours ; these motions often 
perfect the image of anger and contempt, superciliousness 
and piide. Men with small ears seldom have brows which 
you caie to examine, they generally denote the niggard, 
and conceited. The eyes of such are generally small and 
fitful ir. motion, and never to be trusted. Of course, 
this observation does not apply to the fair sex, as dame 
Nature delights to make some of her choicest works small, 
as indicative of innocence and sweetness. When she makes 
the eye and ear of man small, she sends such forth as 
exceptions of her power, and to try the perception and pre- 
caution cf her more favoured children. Of such persons 
are they who desert all principle, if it requires manly 
courage to support it. They are too conceited to importune 
with their presence ; and, therefore, it will be your own 
fault if you suffer them to annoy you ; if they ever have, 
you have learnt a lesson you will never forget. There are 
some so woefully deep in this ditch of conceit that they would 
sacrifice property, and even the life of their friends, rather 
than acknowledge themselves incorrect. When this is 
made manifest, the whole being displays one feeling, viz., 
malignant malice. Here and there, we meet with an exception 
as to the expression, but you will be seldom deceived, if 



72 THE LANGUAGE 



you avoid them ; of course, the forehead may rule. As age 
advances, the brow of man generally becomes shaggy, with a 
wild luxuriance ; but, in middle age, this appearance denotes 
a manly understanding, though seldom original genius, but 
never a volatile, tenderness and spirituality. Such eye- 
brows deck the eyes of counsellors, framers of plans, experi- 
mentalists ; but very seldom, bold, aspiring, adventurous 
minds of the first magnitude. Horizontal eye-brows denote 
understanding, coldness of heart, and capacity for franing 
plans. One of the best judges of eyes and eye-brovs is 
woman, as she is mostly free from those circumstances vhich 
mislead ; she is herself a prophetess, and of kind and uopre- 
judiced mind. A most important element in the power of 
judging of the expression of the eye and eye-brow is, ttat the 
observer shall have an intelligent mind, and kind heart ; for 
with the prejudiced, unprincipled, or unthinking, the rules 
of the experienced and sensitive philosopher are indescrib- 
able hieroglyphics : to them the radiant eye of beauty and 
innocence, the exalted expression of imagination, and the 
profundity of genius are scarcely distinguishable from the 
pandering graces of fashion, or time-serving sycophancy, or 
the monotonous eye of mere fanaticism, or incurable mono- 
manism. To those who love not music or poetry, we fear 
we shall sometimes have appeared unintelligible. 



OF THE EYE. 73 



CHAPTER XL 



POET'S IMAGERY. 



Addison said : — " A beautiful eye makes silence eloquent ; 
a kind eye makes contradiction an assent, &c. This 
member gives life to every part about us, and I believe 
the eye is in every part of us." 

Dr. Roget says, in his Bridgewater Treatise, that visual 
impressions are those to which the philosopher resorts for 
the most apt and perspicuous illustrations of his reasoning ; 
and it also forms the same inexhaustible class of principles 
from which the poet draws his most pleasing, graphic, and 
sublime imagery. We shall dare to spend one fleeting 
moment with those spirits, the poets. They are gone to 
their reward ; but, as good angels, they still minister to us, 
guide and illuminate ; they are around our bed, and 
watch our sleeping hours ; they raise the eye-lid of love 
and charity ; they carol in our path, and summon us to 
pray; they start in clarion voice, and raise our highest 
emulations; they whisper gently, and hush our meditations 
by the tomb and grave of the lovely and the loved. This 
world owes many of its sunniest hours to them — they never 

die — 

But with the ministers of holy worlds, 
They ride through everlasting space in state. 
They travel, as great kings and conquerors, 
Then yield their fiefdom up on high to God. 
Midst principalities and worlds unknown, 
Whilst light insufferably bright comes forth, 
To mark their radiant way and deck their souls 
With glory's rays, whilst countless ages roll. 



74 THE LANGUAGE 



We are well pleased to be able to present the testimony 
of the poets in favour of our views respecting the eye. 
The poets! these ethereal beings, though unseen, still 
wave their tridents o'er the moral world, rousing the 
passions and affections to exquisite delights. Sir William 
Temple says, let no one avow a disregard for poetry or 
music, lest his principles and temper may be called into 
question. Goldsmith says — 

Thou sweet poetry, thou loveliest word. 

Coleridge says — 

Poetry has yielded to me an exceeding great reward. 
Tighe says — 

'Tis this has charmed the hours of solitude. 
Jean Paul says — 
There are many tender and holy emotions created by poetry. 

Our object for making liberal quotations from this 
treasury is, to secure the aid of the poets in sustaining 
the principles we have and shall enunciate in these 
pages. These spirits are everywhere, although mostly 
to be met in quiet sequestered paths ; yet in midst of 
war and bloody scenes, there mused in long reveries at 
Missoloughi; yes, there fell a spirit as sinks the star of day 
beneath its watery bed of western waves, the noble of 
noble birth, ennobling nobility itself — Byron. This child of 
song and love, has left many evidences of his appreciation 
of the eye, as indicative of character, beauty, and excel- 
lence. Speaking of Donna Julia, he declares that pride, 
anger, and love were detected in her eyes ! he declares : — 
Her eye (I am very fond of handsome eyes) 
Was large and dark, suppressing half its fire, 
Until she spoke ; then thro' its soft disguise, 
Flashed an expression, more of pride than ire, 
And love than either ; and there would arise 
A something in them, which was not desire, 



OF THE EYE. 75 



But would have been, perhaps, but for the soul 
Which struggled thro' and chasten'd down the whole. 

Speaking of Zuleika, he announces that the eye itself is 
the picture of the soul : — 

The light of love, the purity of grace, 
The mind, the music breathing from her face, 
The heart whose softness harmonized the whole — 
And oh ! that eye was in itself a soul ! 

In Leila's eyes he sees the same spirituality, and 
expresses the thought thus : — 

Her eyes' dark charm, 'twere vain to tell, 
But gaze on that of the gazelle, 
It will assist thy fancy well ; 
As large, as langui shingly dark, 
But soul beam'd forth in every spark 
That darted from beneath the lid, 
Bright as the jewel of Giamschid. 

Of Lesbia's eye, he says : — 

The fire of love's resistless lightning. 

To the Maid of Athens he vows : — 

By those lids, whose jetty fringe 
Kiss the soft cheeks' blooming tinge. 

In one of his sonnets to Genevra, he says, he sees 
contemplation and sorrow's softness, which we give in his 
own inimitable words : — 

Thine eyes' blue tenderness, thy long fair hair, 
And the wan lustre of thy features, caught 
From contemplation, where sererjely wrought, 
Seems sorrow's softness charm'd from its despair. 
And again — 

For thro' thy long dark lashes low depending, 

The soul of melancholy gentleness 

Gleams, like a seraph from the sky descending. 

To Caroline, he says — 

Think'st thou, I saw thy beauteous eyes, 
Suffused in tears, implore to stay. 



76 THE LANGUAGE 



Speaking of Gulbeyuz, he explains that other principles 
than intellectual may be discovered in some eyes. He 



In her large eyes wrought, 
A mixture of sensations might be scann'd, 
Of half voluptuousness and half command. 

When speaking of the beautiful Theresa, in Mazeppa, 
he seems to excel himself, when he says : — 

She had the Asiatic eye, 
Dark as above us in the sky ; 
But thro' it stole a tender light, 
Like the first moonrise of midnight, 
Large, dark, and swimming in the stream, 
Which seemed to melt to its own beam. 
All love and languor and wild fire, 
Like saints that at the stake expire, 
And lift their raptur'd looks on high, 
As tho' it were a joy to die. 
A brow like a midsummer lake, 
Transparent with the sun therein ; 
When waves no murmur dare to make, 
And heaven beholds her face therein. 

Speaking of the innocent Haidee — 

Her hair, I said, was auburn, but her eyes 
Were black as death, their lashes the same hue, 
Of downcast length, in whose silk shadow lies 
Deepest attraction ; for when to view 
Forth from its raven fringe the full glance flies, 
Met with such force the swiftest arrow flew : 
'Tis as the snake late coil'd, who pours his length, 
And hurls at once his venom and his strength. 

Speaking of Haidee, he describes the sympathy and 
influence of the eye. He says : — 

Round her she made an atmosphere of life ; 

The very air seem'd lighter from her eyes — 
They were so soft and beautiful, and rife, 

With all we can imagine of the skies. 



OF THE EYE. 77 



When speaking of the " young star" Aurora Baby's 
eyes, he discovers a heavenly mindedness and a peering 
into heaven itself. He says : — 

She was sublime 
In eyes, which sadly shone as seraphs shine. 
All youth with an aspect beyond time, 
Radiant and grave as pitying man decline ; 
Mournful, but mournful of another's crime, 
She looked as if she sat by Eden's door, 
And grieved for those who could return no more. 

We must not forget some of the several parts of the 
Giaour. In the following, he describes other than pleasant 
qualities as gleaming through the eye ; he says — 

Dark and unearthly is the scowl 
That glares beneath his dusky cowl : 
The flash of that dilating eye 
Reveals too much of time gone by ; 
Tho' varying, indistinct its hue, 
Oft well his glance the gazer knew, 
For in it lurks that nameless spell 
Which speaks, itself unspeakable, 
A spirit yet unquell'd and high, 
That claims and keeps ascendancy ; 
And like the bird whose pinions shake, 
But cannot fly the gazing snake. 

When speaking of Medora : — 

The long, dark lashes fringed her lids of snow, 

And veiled, — thought shrinks from all that lurked below. 

Oh ! o'er the eye death most asserts his right, 

And hurls the spirit from her throne of light ; 

Sinks those blue orbs in that long, last eclipse, 

But spares as yet the charm around her lips. 

To Ianthe, he says, as lovers speak : — 

Oh let that eye, which wild as the gazelle's, 
Now brightly bold or beautifully shy, 
Wins as it wanders, dazzles where it dwells, 
Glance o'er this page. 



78 THE LANGUAGE 



In the far-famed Fire Worshippers, the prince of Ire- 
land's poets denounces the unearthly purposes to be seen 
in the eye, as portraits of the soul's designs : — 

When he hath spoken strange, awful words, 

And gleams have broken from his dark eyes, 

Too light to bear : 

Oh ! she hath feared her soul was given 

To some unhallowed child of air ; 

Some erring spirit cast from heaven, 

Like those angelic youths of old, 

Who sighed for maids of mortal mould, 

Bewildered left the golden skies, 

And lost their heaven for woman's eyes. 

There is a line in his Loves of the Angels we may 
quote, as evincing the romance of the eye :— 
'Twas Rubi, in whose mournful eye, 
Slept the dim light of days gone by. 

That poet of woman's love, the inimitable and immortal 
creature of Erin's land, says : — 

The brilliant black eye 
May in triumph let fly 
All its darts without caring who feels 'em ; 
But the soft eye of blue, 
Tho' it scatters wounds too, 
Is much better pleased when it heals 'em. 

Then again — 

The blue eye half hid, 

Says from under its lid, 
I love and am yours, if you love me. 

The black eye may say, 

Come and worship my ray ; 
By adoring, perhaps, you may win me. 

In his famed piece of " Laughing Eyes" he says : — 
So holy, 

Seem but given, 
As splendid beacons, solely 
To light to heaven. 



OF THE EYE. 79 



This admirer of woman's eyes says : — 
Where light is ever playing, 
Where love in depth of shadow holds his throne. 

And he talks of the pleasing hours he has spent — 
Watching and pursuing 
The light that lies in woman's eyes. 

And at another time he says : — 

Poor wisdom's chance 
Against a glance 
Is just as weak as ever. 

In the beautiful melody of holy eyes, the poet reminds 
us of the great spirit Shakespeare, he says : — 
In her eyes a saintly lustre beams, 
And that most calm and holy confidence, 
That guilt knows never. 

Those who admire one of Scotland's poets (Robert 
Burns) may find many a characteristic reference to the eye ; 
his song to Clarinda: — 

We part ; but by these precious drops 

That fill thy lovely eyes ! 
No other light shall guide my steps, 
Till thy bright beams arise. 

He evinces his belief in the sympathy of the eye, in 
many ballads. In that to lovely Nancy is this charming 
line : — 

Turn away those eyes of love. 

And again, in the ballad, " Mally 's meek, Mally 's 
sweet," he says : — 

Her golden hair, beyond compare, 
Comes trinkling down her snowy neck, 
And her two eyes, like stars in skies, 
Would keep a sinking ship frae wreck. 

Again, when describing Peggy's charms, he says : — 
The lily's hue, the rose's dye, 
The kindling lustre of her eye, 



80 THE LANGUAGE 



The tender thrill, the pitying tear, 
The generous purpose, nobly dear, 
The gentle look that rage disarms : 
These are all immortal charms. 

There are some other thrilling notes in Burns' songs, 
which, though tinted somewhat beyond general approval, 
fail not to find the sequestered corners of the heart, which 
subscribes to that axiom, — " To the pure all things are 
pure." There are many songs, evincing his belief in the 
sympathies ; for instance, in that song, " Farewell, thou 
Stream," he says of Eliza : — 

The music of thy voice I heard, 

Nor wist while it enslav'd me ; 
I saw thine eyes, yet nothing fear'd, 
Till fears no more had sav'd me : 
Th' unwary sailor thus aghast, 

The wheeling torrent viewing ; 
'Mid bubbling circles sinks at last 
In overwhelming ruin. 

Who can forget those words in a ballad — 

Sae sweetly move her genty limbs, 
Like music's notes o'er lovely hymns, 
The diamond dye in her een sae blue, 
Where laughing love sae wantin swims. 

Again, in the ballad " Adown winding Mth," he speaks 
of the brilliancy of the eye : — 

Yon knot of gay flowers in the arbour, 
They ne'er wi' my Phillis can vie : 
Her breath is the breath o' the woodbine, 
Its dew-drop o' diamond, her eye. 

In the Vita Nuova of Dante, he declares the eyes most 
show the state of the mind. The 18 th Sonnet contains 
these words, addressed to one of the idealities of his im- 
passioned soul : — 

I then perceived that you were pondering 

Upon the nature of my saddened life ; 



OF THE EYE. 81 



So that a fear within my breast arose 
Of showing with mine eye my abjectness. 

In another Sonnet, this poetical philosopher alleges, that 
the warm-hearted sympathize so deeply, that their very 
countenances tell of other's woes. He says in the Color 
d 1 Amove e di pieta sembianti: — 

Never did Pity's semblance and Love's hue 
Take such admired possession of thy face. 
Fair lady ! thou hast long and oft observed, 
The gentle glittering eyes that told of grief. 

Again,— 

I struggle to prevent my love-worn eyes 
From gazing in your beams, but all is vain ; 
And by their gazing they are quite consumed, 
And speak your sorrows but in tears. 

In Cansone 20th, we hear him say : — 

I never thought that sighs could such distress 
Bring to the heart, and torture so severe ; 
That my proud eye would yield a picture there, 
That to all eyes my face with death appears. 

Again, Dante says : — 

And first I look into those lovely eyes 
Which pass thro' mine, and penetrate the heart 
With beams so animating and so bright, 
That from the sun they seem to flow. 

Anacreon is generally objectionable, yet we may quote 
his 27th Ode :— 

We read the flying courser's mane, 
Upon his side in marks of flame ; 
And by their turban'd brows alone, 
The warriors of the East are known. 
But in the lover's glowing eyes, 
The inlet to his bosom lies ; 
Through them we see the small faint mark, 
Where love has dropp'd his burning spark. 



82 THE LANGUAGE 



Again, in the 24th Ode, after describing the various gifts 
which nature has granted to various animals, he says : — 

To man she gave the flame refined, 
That spark of heaven — a thinking mind ; — 
And had she no surpassing treasure 
For thee, oh woman ! child of pleasure ? 
She gave thee beauty — a shaft of eyes, 
That every shaft of war outflies ; 
She gave thee beauty — blush of fire, 
That bids the flames of war retire ! 
Woman ! be fair, we must adore thee ; 
Smile, and a world is weak before thee. 

Also, 17th Ode:— 

And guileless as the dews of dawn, 

Let the majestic brows be drawn, 

Of ebon dies, enrich'd by gold, 

Such as the scaly snakes unfold. 

Mingle, in her jetty glances, 

Power that awes, and love that trances. 

Steal from Venus bland desire ; 

Steal from Mars the look of fire : 

Blend them in such expression here 

That we by turns may hope and fear ! 
Again : — 

Thy pencil, tho' divinely bright, 
Is envious of the eyes' delight. 

Coleridge says in the Day Dream : — 

My eyes make pictures when they're shut : 

I see a fountain large and fair, 

A willow and a ruined hut ; 

And thee, and me, and Mary there. 

Oh Mary ! make thy gentle lap our pillow ; 

Bend o'er us, like a bower, my beautiful green willow. 

Glover declares the loving influence of the eye, and 
when speaking of the closing eye, says : — 

As sliding down the hemisphere, the moon 
Immersed in midnight, shades her silver head. 



OF THE EYE. 83 



The elegant Spencer declares the spirituality of the eye. 
He aptly refers to the lights of heaven ; he says : — 

Compare her eyes, 
Not to the sun, for they do shine by night ; 

Not to the moon, for they are changing never ; 
Not to the stars/ for they have purer light ; 

Not to the fire, for they consume not ever ; 
But to the Maker's self, they lik'st be, 
Whose light doth lighten all things here we see. 

Listen again, he says : — 

In her fair eyes two living lamps did flame, 

Kindled above at the heavenly Maker's light, 
And darted fiery beams out of the. same, 
So passing brilliant and so wondrous bright, 
That quite bereaved the vast beholder's sight. 

Butler has not forgotten woman's eye : — 

The darts of love, like lightning wound within, 
And tho' they pierce it, never hurt the skin ; 
They leave no marks behind them where they fly, 
Tho' through the tend' rest part of all — the eye. 

Campbell says : — 

When all is still in death's devoted soil, 
The march-worn soldier mingles for the toil, 
As rings his glittering spear, 
He lifts on high 
His dauntless brow 
And spirit-speaking eye. 

Collins is a faithful artist of the passions. He says : — 

With eyes upraised, as one inspired, 
Pale Melancholy sat retired. 

Smollett speaks in his Ode to Truth : — 
'Tis Truth, I see her set 
In majesty of light, 
With Laughter at her side, 
Bright ey'd Fancy hovering near, &c. 

The author of the Pleasures of Imagination concurs with 



o 2 



84 THE LANGUAGE 



those poets who compare the light of the eye to the dawn 
of day. 

Milton also says : — 

The eye-lids of the morn. 
Akenside says : — 

Hither, gentle maid, 
Incline thy polished forehead, let thy eyes 
Effuse the mildness of their azure dawn. 

Young (a poet too much disregarded), describing a good 
man, says : — 

With aspect mild, and elevated eyes, 
Behold him seated on a mount serene. 

The pen of Bulwer declares the beatific character of the 
eye, and says : — 

Those eyes, those eyes, how full of heaven they are, 

When the calm twilight leaves the heaven most holy ; 
Tell me, sweet eyes, from what divinest star 
Did ye drink in your liquid melancholy, 
Tell me, beloved eyes. 

Kirke White (whose journey in this life was short) could 
not resist some thoughts on this interesting subject. He 



Sweet Jessy, I with transport burn, 

Thy soft blue eyes to see ; 
Sweet Jessy, I would die to turn 

Those melting eyes on me. 

Again, this young poet becomes extatic, and says :- 
Oh that my soul might take its final station 

In her waved hair, her perfumed breath to sip ; 
Or, catch her blue eyes' fascination, 

Or meet by stealth her soft vermilion lip. 

Again, — 

Black eyes mostly dazzle at a ball, 
Blue eyes most please at evening fall ; 
The black a conquest soonest gains, 
The blue a conquest best retains ; 



OF THE EYE. 85 



The black bespeaks a lovely heart, 
Whose soft emotions soon depart ; 
The blue a steadier flame betray, 
Which burns and lives beyond a day ; 
The black the features best disclose, 
The blue my feelings all repose. 
Then let each resign, without control, 
The black all mind, and blue all soul. 

Shakespeare has many expressions, which evince his 
high appreciation of this beautiful organ, and deems it 
fruitful in imagery; he speaks of — 

The fringed curtains of thine eye. 

Again, when speaking of Portia's picture, he says : — 

Where is any author in the world, 
Teaches such beauty as a woman's eye ? 
Again, — 

Move those eyes ? 
Or, whether riding on the balls of mine, 
Seem they in motion ? here are severed lips, 
Parted with sugar breath, so sweet a bar 
Should sunder such sweet friends ! here in her hairs 
The painter plays the spider, and hath woven 
A golden mesh, to entrap the hearts of men 
Faster than gnats in cobwebs. But her eyes, 
How could he see to do them ? having made one, 
Methinks it should have power to steal both his, 
And leave itself unfinished. 



From woman's eyes this doctrine I derive : 
They sparkle still the right Promethian fire. 
They are the books, the arts, the academies, 
That show, contain, and nourish all the world. 
Again, — 

She bids you 
Eest your gentle head upon her lap ; 
And she will sing the song that pleaseth you, 
And in your eye-lids crown the god of sleep. 



86 THE LANGUAGE 



Again, in Kichard's affliction, lie says : — 
As in a theatre, the eyes of men, 
After a well graced actor leaves the stage, 
Are idly bent on him who enters next ; 
Thinking his prattle to be tedious, 
Even so, or with much more contempt, men's eyes 
Did scowl on Richard : no man cried, God save him. 
Again, describing a soldier (Shakespeare describes every- 
thing successfully), lie says : — 

Not fierce and terrible, 
Only in thy strokes ; but with thy grim looks 
Thou mad'st thy enemies shake, as if the world 
Were feverous, and did tremble. 
Again, — 

Let not the world see fear and blank distrust 
Govern the motion of a kingly eye. 
When speaking of war, lie says : — 

In peace there's nothing so becomes a man 
As modest stillness and humility ; 
But when the blast of war blows in our ears, 
Then imitate the action of the tiger ; 
Then lend the eye a terrible aspect, 
Let it pry thro' the portage of the head, 
Like a brass cannon ; let the brow o'erwhelm it, 
As fearfully as doth a galled rock, 
O'erhang and jutty his confounded base. 
Describing sympathy, lie says : — 

Passion, I see is catching, for mine eyes 
Seeing those beads of sorrow stand in thine. 
The magnificent sublimity of thought in Brackenbury's 
Dream contains so much of the grand, that it may be referred 
to, especially as he says : — 

What sights of ugly death within mine eyes — 
Methought I saw a thousand fearful wrecks ; 
A thousand men that fishes gnaw'd upon ; 
Wedges of gold, great anchors, heaps of pearl, 
Inestimable stones, unvalued jewels, 
All scattered in the bottom of the sea ; 



OF THE EYE. 87 



Some lay in dead men's sculls, and in those holes 
Where eyes did once inhabit, there were crept 
(As t'were in scorn of eyes) reflecting gems, 
That woo'd the slimy bottom of the deep. 

Again, speaking of Olivia : — 

when mine eyes did see Olivia first, 

That instant was I turned into a hart ; 

And my fond thoughts, like fell and cruel hounds, 

Ever since pursue me. 

In his Lncrece there is a beautiful simile : — 
And dying eyes -gleam'd forth their ashy lights, 
Like dying coals burnt out in tedious nights. 
In that graphic description, previous to the battle of 
Agincourt, this spirit describes the King as visiting the 
camp, and says : — 

Upon his royal face there is no note 
How dread an army hath surrounded him, 
Nor doth he dedicate one jot of colour 
Unto the weary and all- watched night ; 
But freshly looks, and overbears attaint 
"With cheerful semblance and sweet majesty, 
That every wretch, pining, and pale before, 
Beholding him, plucks comfort from his looks ; 
A largess, universal like the sun, 
His liberal eye doth give to every one — 
Thawing cold fear. 

The singular language and thought in Midsummer 
Nigkt's Dream, reflects on our subject. The poet, from 
his vast treasury of imagery, speaks of the fiery light of 
the glowworm's eyes. 

Be kind and courteous to this gentleman, 
Hop in his walks, and gambol in his eyes ; 
Feed him with apricots and dewberries, 
With purple grapes, green figs, and mulberries ; 
The honey bags steal from the humble bees, 
And for night tapers crop their waxen thighs, 
And light them at the fiery glowworm's eyes, 



88 THE LANGUAGE 



To lead my love to bed, and to arise ; 
And pluck the wings from painted butterflies, 
To fan the moonbeams from his sleeping eyes ; 
Nod to him, elves, and do him courtesies. 

How many short and pithy thoughts dazzle in the 
gorgeous pages of this bard. In the following, he shows 
the mystic sympathy of the senses : — 

To hear with eyes, belongs to love's fine wit, 
A lover's eye will gaze an eagle blind ; 
Beauty of itself doth of itself persuade, 
The eyes of men without an actor ; 
True eyes have never practised how 
To cloak offences with a cunning brow. 

Again, he speaks of the brilliancy and lovely translucency 
of woman's eye (all good men agree with Shakespeare's 
praise of woman) : — 

how her eyes and tears did lend and borrow, 
Her eyes seen in the tears, tears in her eye ; 
Both crystals, when they viewed each other's sorrow, 
Sorrow that friendly sighs sought still to dry ; 
But like a stormy day, now wind, now rain, 
Sighs dry her cheeks, tears make them wet again. 

Perhaps one of the most charming thoughts may lie in 
the following. We say may lie, for we are constantly dis- 
covering new, brighter, and more heavenly meaning in 
Shakespeare ; and, believe, various minds receive very 
various delights in reading the scriptures of this spirit from 
his poems. The quotation is, where he is showing sorrow 
turned into joy : — 

The night of sorrow now is turned to day ; 
Her two blue windows faintly she up-heaveth, 
Like the fair sun, when in his fresh array 
He cheers the morn, and all the world relieveth ; 
And as the bright sun glorifies the sky, 
So is her face illumined by her eye. 

Again (here is one of our own figures) the poet describes 



OF THE EYE. 89 



the eye as the window of the heart, into which true love 

looks to see the image of his soul : — 

Behold the window of uiy heart, mine eye, 
AVhat humble suit attends the answer there. 

This poet of Nature and Nature's God ; of Time, whose 
rolled pandect he peereth into, and of all eternities and 
eternals, has given a few words descriptive of the poet's 
eye. That highly quickened and rapturous sight can only 
yield delight to the intellectual and spiritual : — 

The poet's eye, in a fine frenzy rolling, 

Doth glance from heaven to earth, from earth to heaven ; 

And as imagination bodies forth 

The forms of things unknown, the poet's pen 

Turns them to shapes, and gives to airy nothing, 

A local habitation and a name. 

May we make one more quotation for the young, for we 
would assure the young they may trust true love ; it will 
ennoble, purify, and set up idealities in the soul, which 
will elevate the mind. It will attract from low and 
unworthy purposes, and give life and zest to the purest 
parts of our nature. The mean, selfish, and sensual will 
not understand this : — 

But love first learned in a lady's eye, 
Lives not immured in the brain ; 
But with the motion of all elements, 
Courses as swift as thought in every power, 
And gives to every power a double power, 
Above their functions and their offices ; 
It adds a precious seeing to the eye. 

This magician, in the Winter's Tale, observes . — 
He says he loves my daughter, 
I think so too, for never gazed the moon 
Upon the water, as he'll stand and read, 
As 'twere my daughter's eyes. 

In his Romeo and Juliet, he compares the spheres of 



90 THE LANGUAGE 



sight to stars. He is right, for woman's eye enlivens, encou- 
rages, and solaces, when rugged anxieties surround man : — 

Her eye discourses, I will answer it, 
I am too bold, 'tis not to me she speaks ; 
Two of the fairest stars in all the heaven, 
Having some business, do intreat her eyes 
To twinkle in their spheres, till they return. 
What if her eyes were there, they in her head ? — 
The brightness of her cheek would shame those stars, 
As daylight doth a lamp, her eye in heaven 
Would thro' the airy region stream so bright, 
That birds would sing, and think it was not night. 

Byron says, the eye is made bright by sleep, and we 
may quote — 

The crowd are gone, the revellers at rest ; 
The courteous host, and all approving guest 
Again to that accustomed couch must creep, 
Where joy subsides, and sorrow sighs to sleep. 
And man o'erlaboured with his being's strife, 
Shrinks to that sweet forgetfulness of life. 
There lie Love's feverish hope and Cunning's guile, 
Hate's working brain, and lulled Ambition's wile. 
O'er each vain eye oblivion's pinions wave, 
And quenched existence couches in a grave. 
What better name may slumber's bed become — 
Night's sepulchre, the universal home, 
Where weakness, strength, vice, virtue sink supine, 
Alike in naked helplessness recline. 



OF THE EYE. 91 



CHAPTER XII. 

GENIUS. 

The eye of genius is very different to that eye which 
allows the feelings to lead and predominate ; with genius 
there is none of that fluctuating or flickering, which indicates 
the shallowness of the stream. The brow is sometimes 
drawn back, so that the ball appears very prominent ; the 
eye assumes to represent the whole soul, and seems to 
suppress the office of every other feature : there is then an 
imperialism in the eye which belongs to the grand and 
sublime. It moves slowly, calmly, and in curves through 
a sphere of moderate extent ; the look is pleasing, very 
intelligent, and sometimes keen ; the pupil is contracted, 
and the iris in a state of tension ; the lustre is sometimes 
most dazzling ; the brow is rather bent down, and not 
unfrequently indented. 

Doubtless no power or attribute of the mind can 
execute its mission, unless all other parts of the mind 
are in due order ; and perhaps it is somewhat difficult to 
give a definition to genius. We consider strong imagina- 
tion, piercing judgment, originality, and invention, with 
independence of thought and action, as indispensable 
elements of genius. It is the power of clearly conceiving 
and properly combining images and sentiments, either as 
they relate to utility or refined taste ; it is the highest effect 
of sensibility and reason — the power of associating ideas 
harmoniously. Poetry, painting, and music are sciences 



92 THE LANGUAGE 



peculiarly beholden to genius: poetry is the language of 
pure passion ; painting is silent poetry ; music is the accent 
of passionate expression. 

Some do not allow this grand power to be one of the 
properties of woman ; but, if we are correct in our 
analysis, we can testify to the contrary. We must 
remember Boadicea, Eleanora of Aquitaine, Queen Eliza- 
beth, Catherine of Russia, Wilhelmina Anspach, the 
unfortunate Mary, Mrs. SiddoDS, Mrs. Clarke, Anna 
Maria Porter, Miss Cushman, Mrs. Sigourney, Mrs. Car- 
penter, Lady Strafford, Catherine of Arragon. But names 
are needless, we have in these days, women, intellectual 
and lovely, moving amongst us like stars of glory. They 
are courteous and affable, but you may see in their eyes, 
that which reminds you of deep magnificent lakes, inhabited 
by spirits, who hold, fiefdom under the seal of grandeur ; 
they are constantly communing with beings free from the 
ties and thraldom of time : — 

Their palace standeth in the air, 
By necromancy placed there, 
That it no tempest needs to fear 
Which way it blow, or high so 'ere. 

When the moon is laid asleep, 

Sitting in her silver chair — 

Then walks genius with slow step, 

Midst things unseen : 

Thus it fell upon a night, 

When there was nought but starrie light. 



And— 



The eye of a woman of genius is always bewitching, 
and in every clime is worshipped : many bow as at a 
shrine, lowly they whisper, look, and pass along ; they feel 
they are on holy ground ; no heedless foot disturbs the 
beatific exercises of genius. Let not the vain enter her 



OF THE EYE. 93 



palace ; there sits Death as a guest invited to cast his 
sombre shade amongst these sublimities : sweet gentle 
Taste and Memory are part of her court ; the knell of 
judgment rolls across the enchanted towers. List! she 
moves — the chimes of enchantment have commenced ; she 
summons her spirits to wait upon her, they strew stars of 
mystic brilliancy ; she stares at Death until he hies away ; 
she charges the cauldron of unearthly elements, a thick 
cloud arises, spreading narcotic fragances; her brow is 
damp with immortal dews ; the quivering of the aspen 
comes o'er this magnificence and all its elements : Memory 
steps from her seat — the spell is broken, and the passion of 
genius is o'er. But, there are other revelations in which 
she exercises ; she turns towards the blue sky, she sees some 
fond companion, some loving star, they exchange radiations 
of affection ; she thinks of future days, when the silver 
wings of Imagination may enter heaven, and partakes of 
sublime delights ; she waits without the gate, but hears the 
blast of the trumpet's sound, which calls the choir of Heaven 
to rehearse " the immortality of beauty."* 



* In the Memoranda of that extraordinary genius, Mrs. Siddons, it 
appears that on one occasion, when the family had retired to rest, she 
determined to study the part of Lady Macbeth ; and having steeped 
her feelings in the spirit of the character, she hecame alarmed with 
the poignancy of the passion, and so much was she affrighted that 
she ran upstairs to bed, but coidd not find courage to extinguish the 
taper. — See BoadevCs lAfe, 



94 THE LANGUAGE 



CHAPTER XIII. 

HOPE. 

Hope has elevated eye-brows, and opens the eye-lids more 
than usual ; the iris is soft, turgescent ; the pupil large ; 
the lustre of the eye-ball mild, though increased in degree ; 
the motions of the eye are easy, free, performed within a 
large space, and curved ; the look is very agreeable, con- 
templative, expressive of a wish which is felt. This is one 
of the angels sent down from heaven to bear a cup of kind- 
ness and consolation to man in his pilgrimage. She raises 
the fallen lid, and revives, with her inspired look, those 
sinking and about to die. 

Hope with its golden radiance opens its burning wings, 
and sheds on all powers the return of the love of life. All 
passions may be resolved into the simple system of love 
and hate ; the various modes of affection being caused by 
accident. Hope is (speaking abstractedly) an anticipation 
of some enjoyment, and generally running parallel to an 
antagonistic feeling, called fear. This angel is sent into 
this world of reality to awaken joy and excitement, and to 
drive fear, anguish, and monotony far away. If the organ 
of sight were deprived of this power, there would be many 
a dark and cloudy path, which is now illumined by 
the waving of the wand of this holy one. The generous 
sympathy of this lovely spirit is not found in palaces and 
the domains of luxury ; but, where there is a cry of woe, and 
where the echo of sorrow wanders about the streets, there 
she glides along ; in many a wretched cottage, and by many 



OF THE EYE. 95 



a bed of sickness, there sits this cherub for ever smiling. 
Hark ! how loud the winds rave, they roar through the thin 
walls ; hunger awakes ; pallid sickness glances on the 
dying embers of the scanty fire ; the lamp flickers o'er the 
ashy countenances of that squalid group ; Madness looks 
in and peers around for its victim ; Hope darts forth and 
defies his entrance — for a moment they view each other — 
the white lip of Madness threatens and retires. Hope is part 
of the treasury of a sound mind ; the philosopher well knows 
the rapid changes of time ; the inability of man to rule for 
time ; and that, except he sustains a firm and dignified 
address in the hour of danger, he becomes prey to the 
meanest of foes. Hope is the brightest flag in the battle 
of life. It brings riches to the poor, which never fade. 
It is the lover's staff. The wild winds blow through the 
curls of the little sailor boy, whilst wrestling with the 
tattered sails : he hears the yet hoarser voice of the bold 
captain ; but through the driving blasts he sees a sweet 
cherub darting from rope to rope, chaunting sweetest 
melody of future joy ; and he hopes the rolling seas will 
bring him to his home. Hope is a precious stone which 
glitters in many of the dark paths of life. Young says : — 
" Hope, of all passions, most befriends us here." 

Campbell says : — 

Audacious Hope ! in thy sweet garden grow 

Wreaths for each toil, a charm for every woe : 

Won by their sweets, in nature's languid hour, 

The way-worn pilgrim seeks thy summer bower : 

There as the wild bee murmurs on the wing, 

What peaceful dreams thy handmaid spirits bring ; 

What viewless forms th' iEolian organ play, 

And sweep the furrow'd lines of anxious thought away. 



96 THE LANGUAGE 



CHAPTER XIV. 

INNOCENCE ; OR, THE EASTERN EYE. 

The natural appearance of the brow is unaltered ; as no 
passion, no hope or fear has ever been there. Peace sits 
there on her parian throne ; her various fairies are 
couchant around her ; no appearance of alarm or rancour 
there. The portals of the palace of this divinity are kept 




by Silence. The upper lid has a play so slow and easy 
that you scarcely think it lives ; yet you may observe a 
constant downward tendency; the lower lid is elevated, 
the pupil clear and expanding, there is much lustre about 
the sclerotica. The lovely and chaste peace which per- 



OF THE EYE. 97 



vades the whole expression is akin to modesty, but its 
name is " Innocence." Milton says : — 

So dear to heaven is saintly chastity, 
That when a soul is proved sincerely so ; 
A thousand liv'ry'd angels, lacquey her, 
Driving far off each thing of sin and guilt. 

This is the eastern beauty clad in ignorance and inno- 
cence ; and this sweet little eye moves slowly in curves and 
lines, but heedless as hopeless ; it has no hope, no fear, no 
joy or sorrow ; and it seems adapted to the narrow area 
and few objects, over which it may exercise ; it expresses 
none of nature's delights, yearnings or solicitudes ; it may 
not roam over nature's beauties, nor gather one fresh thought 
to feast the lonely heart, or take some humble part in those 
extacies and luxuriant delights which social variety presents 
to the more favoured beauties of Spain, France, and 
England. Though bright and dark, well-shaped and 
pleasing, it seems to decline sympathy. 

Apart, 
And scarce permitted, guarded, veiled to move, 
She yields to one her person and her heart, 
Tamed to a cage, nor shows a wish to roam. 

The life of the young Turkish females is one of luxurious 
idleness ; they rise early, have frequent baths which render 
their bodies soft as velvet; bathing and sleeping consume 
their heavy hours. The lady described in the illustration, 
is but one of many slaves of one master. Alas ! all the 
splendour and various coloured furniture, cannot light up 
that eye with nature's dazzling glory ; it is day by day 
the same placid and monotonous orb. How great are the 
privileges of some ! Koscoe says : — 

Freedom ! blest gift, whom none condemn who know, 
Dear is thy presence in this world below ; 



98 THE LANGUAGE 



If thou be absent, life no joy affords — 
Despised its titled pomps, and useless hoards. 

But Moore is more felicitous when he speaks, — 

There is a land where souls are free, 
Where tyrants taint not nature's bliss ; 

If death, that world's bright opening be, 
Oh ! who would live a slave in this ? 

It cannot be surprising that the countenance of Inno- 
cence has but few lines ; it is the sequestered mead over 
which the passions never step ; it is the placid lake which 
is rarely ruffled, by even the playful breeze; it is the 
sphere of peace, free from all rugged marks of fear or 
sorrow. 

Its eye (as we have said) describes a peaceful, unsus- 
picious, passionless spirit, awaiting the summons to its 
mansions — not made with hands — and prepared from the 
beginning of time, to which it received its title from that 
voice of love which descended from Mount Olivet. 



JUS#Jl^^v 




OF THE EYE. 99 



CHAPTER XV. 

LOVE. 

Love wears a glowing, full eye, which imparts its cor- 
ruscations to all around. The presence of love warms 
and awakens to all social amenities. The eye-brows 
generally expand towards the temples ; there is a very 
seductive expression produced from the elevation of 
the lower lid ; the iris glistens, as though beaming in 
humid pearls ; confidence sits gallantly enthroned in the 
enlarged pupil; the soul cannot be seen, but many a 
trickling diamond tells of the inward delights. The 
motion of the eye is slow and easy, except when love is 
embittered with fear, or doubt, or jealousy ; and then it is 
very uncertain in its motion, as it is no longer a principle, 
but a passion, full of fitful and rapid vigilance. Some- 
times, even then, contemplation bends over the eye, like an 
eagle overlooking some deep ravine, watching for its prey, 
or sullenly listening to the rolling cataract below : then, 
the brows become corrugated, and the upper lid droops 
and moves sadly slow ; the celia bend downwards, the iris 
loses its tension, the pupil seems powerless, and as though 
its occupation was over. Withal there is too much 
sweetness remaining for the eye to appear in any way 
disagreeable, though the frown of melancholy casts many 
a dark shadow ; here, as ever, this beautiful mirror faith- 
fully indicates the feelings. 

Love is a state of mind, which may be termed settled 



II 2 



100 THE LANGUAGE 



affection, — i.e., a constant anxiety, conjoined to willingness, 
to endure and suffer for another ; at times it betrays sadness 
and uneasiness; at others, extreme consciousness of pleasure ; 
alas ! at times, it wears that direful veil, called green jealousy. 
Love has many streams, which ten times faster glide than 
the sun's beams. Its breath is the air of Paradise. 

This gentle angel is looking for the manifestation of 
that life and feeling in others, of which she has the most 
ethereal models and idealities placed in the niches of her 
spirit ; there are restless spirits there, yet all are sanctified 
and prepared for their office by the mystery of inspiration. 
Sometimes she leaves her watch-tower, and is found midst 
an umbrageous loveliness, listening to Echo, or sweet 
Philomel ; in the mazy dance, gentle are her lovely motions, 
— smoothly gliding, undulating or winding, her buoyant 
form exciting the most pleasing of sensitive perceptions. 
Her motion is the life of beauty, her smile is beauty, her 
contour is the phase of beauty — the very presence of 
divinity. The poets describe her path and call her — 
" The winding honey-suckle, with ivy canopied and interwove." 

Elevation and extacy are often akin to this loveliness of 
form and expression. There are sympathies in the carriage of 
the head (which is generally thrown upward), and the arms 
are often raised, and this may arise from the idea prevalent 
amongst mortals, that the plains of eternal joys are above 
the mountain, and far out of mortal ken. This, also, is a 
phase of beauty, as an expression of the most delightful 
feelings, conveyed by means of that which is to sense most 
delicately pleasing ; there is gentleness of form and com- 
bination of influences, which conjoin to animate and delight ; 
this spirit Love, refines all ideas and conjoins with all holy 
desires, which mutually assist each other and multiply the 
exuberance of joys, till at length the highest excellence of 
social perception may be attained. 



OF THE EYE. 101 



CHAPTER XVI. 

SORROW. 

The eye of earthly sorrow is generally securely hidden by 
the lid, and directed to the ground ; the brow taking the 
same direction. Poor Sorrow has nothing to show or 
boast of, it is generally its own nurse and physician. The 
portrait tells that all vivacity is gone, the nerves are all 
agitated at the root, whilst a multiplicity of sensations and 
impressions are all acting, and imparting to those eyes 
tenderness, devotion, and meditation. The rapidity with 
which the ideas and idealities of sorrow flow is so great, that 
many pass away without submitting themselves to obser- 
vation. The facility with which woman receives impressions, 
must be suggestive of rapid change : this continual versa- 
tility in the nervous system is always operating on the 
eye j and, whilst it denies the existence of that steady and 
lengthened condensation which the eye of man pourtrays, 
yet there is often a graceful and fascinating mournfulness 
depicted in the eye, which is a true portrait of the heart : 
there love hovers, as the first attribute of life. Woman 
walks amidst hopes, fears, and troubles as a prophetess, 
angel, and companion ; she lives to hope, and hopes to live, 
to find compensation for the humiliations and woes with 
which she is often surrounded, and too often by that one 
whom her heart has selected as her companion. This lady 
is talking to herself, we think we hear her say : — 

My summer now is gone, so quickly spent, 

'Tis neither mazzy dance, nor gallant love, or joy 



102 THE LANGUAGE 



Can wake it from the dead. — Once, once indeed, 

And only once, I loved. Ah, who can tell 

When first the new-born infant opes its eye, 

And drinks the light of heaven, what mystic thrill 

Of joy extatic, then from nerve to nerve 

Through this, of all the portals to the brain 

Most complicate, attends that rushing beam ! 

Tis even thus with passion's first wild throb 

In youth's young soul : 'tis indefinable ; 

And all we know is, that it gave a zest, 

An impetus unto the tide of life, 

That until then had sluggish been and dull. 

Oh, 'tis a gift from heaven ! and could it last, 

I could not wish for any other light 

Than the bright trance of love. 

Once more we meet down by the rocky shore, 

Fix'd by his love. — Ah ! in this wilderness, 

'Twill cheer this soul, and yield some passing ray 

To tempt this fluttering soul awhile to stay. 

Ah ! there the happy sea-bird tells her tale 

To her loved mate : together scale o'er storms, 

Which rend those high materialities, 

Which bound their wild domain of angry seas. 

But when the saucy winds have ceased to chide, 

Their glistening eyes with undulations shine : 

Fearless and proud, they ride, 

And watch the crested waves to rocks incline. 

Come, Sorrow, hug thy child in cold embrace, 

Gently take down the tabernacle slow : 

These eyes may no more gaze on that loved face, 

And all the world is now a world of woe. 

Sorrow has lovely shades, in which it were well some- 
times to sit. She has cooling streams for feverish world- 
liness. She has medicines which are better than wine. 
She has an altar for pious vows, and a cold, dreary 
sepulchre for those who despise her visitations. 



OF THE EYE. 103 



CHAPTER XVII. 



IMAGINATION. 



The eye of Imagination seems to look through all 
presence, and calmly regards that which others see not. 
The point of convergence coincides exactly with an 
extreme point the eye seems to include. The look is 
always steady, though enduring disturbance more readily 
than the eye of genius ; it is also penetrating and 
sometimes piercing, as though jealous: there is consider- 
able lustre and feeling, but united to that control 
and energy, which regulate the line of the path of the 
eye. If the subject under consideration is of extreme 
importance, or relating to the unseen world, the eye opens 
with glistening radiance, and occasionally a tear rolls off 
the lashes ; then the eye performs its motions more heavily, 
and within a more limited field, and passes in straight 
lines from some ideal object to another with an oscillating 
motion ; yet a pleasing and attractive expression per- 
vades every part of the eye. This is one of the attendant 
graces, and best-beloved sisters of genius ; this is the 
loving, buoyant creature seen on brows of haughty moun- 
tains, listening to the dissonant roarings of the cataract ; 
she dashes through thick embrasures of the dense wood, 
and sits by the side of pellucid streams, listening to the 
happy songsters of the glen. She whispers — 

Bring me word hither 
How the world goes. 



104 THE LANGUAGE 



And as Coleridge says : — 

All passions, all delights, all thoughts, 

Whatever stirs this mortal frame, 

Are all her ministers in love, 

And feed its sacred flame. 

When moonlight hour steals o'er the sense, 

'Tis her delight, her hope, her joy : 

Yea, she doth smile, and she doth weep, 

Like a lovely hermitess, 

Beauteous in a wilderness ; 

When praying always, prays in sleep ; 

And if she move unquietly, 

Perchance 'tis but the blood so free 

Comes back and tingles in her feet ; 

No doubt she hath a vision sweet. 

She is the one Milton describes : — 

She is the same that at my window peeps, 
'Tis her fair face that shines so bright ; 
'Tis that sweet fairy, she that never sleeps, 
But walks about high heaven all the night. 
Imagination can see kingdoms in shadows, and watch 
warriors and their brilliant staff vanish in the mists of a 
grandeur lent for awhile by the fleecy clouds. She can 
hear the blast of trumpet and shawm as they travel 
through infinite space, and echoes the mystic praises of the 
Creator. She wakes in presence of spirits unseen by 
man, — she dreams as spirits dream, and she is clad in 
the dew of inspiration, in foretaste of her ethereal being. 







CATHERINE OF AKRAGON. 

I will not wish ye half my misery, 

I have more charity : but say, I warn'd ye : 

Take heed, for Heaven's sake, take heed, lest at once 

The burden of my sorrows fall upon ye. 



OF THE EYE. 105 



CHAPTER XVIII. 

DIGNITY. 

The eye of Dignity moves calmly, whilst all the parts 
adjacent to the eye possess great freedom of motion, which 
motion is somewhat governed by mood of mind, though 
always under constraint. The eye seems not only capable 
of including everything, but also of critically examining 
every detail. 

Woman has generally sweet alliances attending dignity 
of mien, and many reserve powers. The dignified never 
allow much outward demonstration, as this is rather a 
characteristic of weakness of mind. 

In representing the figures of heroes, the ancient artist 
exercised great judgment, by exhibiting only those human 
affections which become a wise and heroic mind ; scarcely 
allowing a glimmer of the flame of passion to be seen, lest 
that variety of fears and doubts might rush into the mind 
of the beholder which sometimes distracts admiration. The 
two great classical instances we may quote — Niobe and her 
daughters, against whom Diana shot her fatal darts — are 
represented as seized with terror and extreme anguish. The 
fable gives us an idea in the metamorphosis of Niobe into a 
stone ; and hence, iEschylus introduces her in a frantic 
state : but the mighty artist has taken care to evince no 
extreme distrought, but preserves all in beauty, as though 
passion was in abeyance, held back by some internal 



106 THE LANGUAGE 



sublime majesty. Niobe and her daughters are, and ever 
will be, the most perfect models of beauty. The other 
instance we would refer to is the Laocoon, where the 
artist still preserves the repose, vigour, and dignity of the 
brave man, struggling against his misfortunes, stifling the 
emotions of his anguish, and striving to repress them. 

Dignity regards all precedence as nought, unless based 
on right and virtue. Of what account was the haughty 
Wolsey in the eyes of the unfortunate Catherine of 
Arragon ! she told him of his cardinal sins, and yielded 
even for him a prayer and her pity; she reminded him 
of that Being before whom kings shall sue, and false 
priests shall quiver as the aspen. She saw a troop of 
angels beckoning to her, and tendering their safe conduct 
to the unseen world. The belief in the riches of that 
world induces the sacrifice of self-righteousness, and then 
gives to the eye, aye to all the being, true dignity. 



OF THE EYE. 107 



CHAPTER XIX. 

RESIGNATION. 

The eye-brows of Resignation are slightly elevated, the 
lids widely apart ; the iris not tense, but soft with lustre ; 
the motion of the eye is slow, but free and independent, 
and generally acting in a curve. The consciousness of the 
value and grace of virtue has reached a maturity in feeling 
and understanding, which is evinced in the eye. Resigna- 
tion is occupied in the cultivation of the great parts of 
mind and soul, and fears that an extensive and unremitting 
intercourse with men may stifle the growth of many of the 
sweetest germs of virtue, and scare away gentle, tender 
conscience, which trembles where busy worldlings discuss 
the trivial interests of time. 

Her modest bearing is a soft shade to the excellence of 
her form, giving it effect and beauty ; it raises and rounds 
the peering points of elegance, and makes all colours 
blend so infinitely in order, until the figure seems veiled 
in purest light : — 

Modest as morning, when she coldly eyes 
The youthful Phoebus. 

No anxiety for good news ; no esteem for hasty relief. 
By this eye all news is qualified : the bad is not feared, 
the good is not exulted in ; for well does the owner know, 
the cedar shall fall, whilst the reed quivers in the marsh, 
until Endymion culls it to tell the silver tones of love 



108 THE LANGUAGE 



to beautiful Dian : yes, the spirit of resignation evinces she 
has powers which shall endure until all material demonstra- 
tions are passed away; she shall live and muse eternally: — 

But that tall castle height must fall, 
The mountain where the golden sun has hid, 
The rocks where lonely eagles sullen rest, 
The peaceful valley with orient honours clad, 
The boundaries of the raging billows' crest, 
The burning stars in their supernal vault, 
Must render up their native majesty, 
When the shrill trumpet of the angel sound ; 
But the soft notes of Kesignation's voice 
Shall join the choir of heaven's great palaces, 
And rest for aye in holy presence there. 

No noise, no care, no vanity, no strife attend this placid 
spirit ; no haughty passion there. From a base world she 
wanders away; by streamlet and sequestered grove she 
steps and watches the gay lark, poised with gallant 
joys, to chant at Heaven's great gate to angels' ears. 
A pure ethereal calm glows over her face. Far above 
the reach of court intrigue, ambition's promises, and lure 
of gold, mean purposes and vain desires, she asks no joy, 
but that of virtuous peace, and dares the haughtiest 
storm of fate to rend that jewel from her breast. She 
inhabits a temple decked with amaranthine flowers, which 
no blast can kill ; it is built with stones of crystal, through 
which her piercing eye is ever contemplating heaven. The 
misery of duplicity, temptation, and human infirmities is 
now unknown to her ; she bids the wild earth roll, for she 
is shut in with God. She is a revelation of love; a 
beam of divinity, influencing and shining through those 
dark clouds which attend the mortal body. She is not 
compelled to beg her daily happiness from others. 

" Of God she sings, and of the mild 
Attendant Mercy, that beside 



OF THE EYE. Ki f J 



His awful throne for ever smiles ; 
Keady with her white hand to guide, 
His holts of vengeance to their prey, 
That she may quench them on their way." 

Her soul is decked with golden light, which glorifies her 
actions and her friendship ; indeed, that nectarian flower, 
amiability, grows in her path, and even place is dignified 
by the serenity of her presence. She is a lover of virtue, 
without austerity ; pleasure, without effeminacy, and life 
without fear of its end ; hence it is, she is subject to no 
disappointments, for her pursuit is truth. This is the 
ideality of her passion, — to cherish goodness : this is her 
pride, this her beauty, this her hope, this her life, this her 
death, and this her epitaph. 

It is to such we may use those words of the great 
bard : — 

Thou art alone, 
If thy rare qualities, sweet gentleness, 
Thy meekness saint-like, 
The queen of earthly queens. 

This is the woman of whom the poet might say : — 

Yet there is light around her hrow, 

A holiness in those dark eyes, 
"Which shows, tho' wand'ring earthward now, 

Her spirit's home is in the skies. 



110 THE LANGUAGE 



CHAPTER XX. 

BEAUTY. 

Soon as the eyes on beauty fondly form, 

And find its pleasures, they awake the mind ; 

But heart and soul arise 

And contemplate each lovely form, 

Whilst every wish departs, save still to gaze. 

Dante. 

We have no hesitation in saying that one of the purest 
sources of intellectual pleasure is the presence of Beauty ; 
for then the spirit finds an object for the exercise of 
all its powers, and the most agreeable emotions are 
created: yet it is not wonderful that the variety and 
inconsistency of our tastes, respecting the attributes and 
characteristics of any principles, should have led many 
philosophers to deny the existence of any certain com- 
binations of forms and effects, to which the term beauty 
ought to be invariably applied. Yoltaire says, " Nothing 
can be more beautiful than the idealities created by read- 
ing the discourse of Plato." Perhaps it would be more 
intelligible to say, a standard for the beautiful, in its 
most general acceptation, is not a simple idea, but is 
made up of a spiritual exquisiteness, a perception of the 
primary pleasures of imagination, of the secondary pleasures 
of sense, and of the conclusions of the reasoning faculty. 

Though men of taste possess a ready perception and 
lively appreciation of the beautiful, it is not possible that 



OF THE EYE. Ill 



the sensual and conceited, the selfish and artificial can 
recognize beauty ; for such recognition requires habitual 
dignity and delicacy of mind. How vain would be the 
endeavour to create a sympathy for the beautiful in the 
mind of the covetous and sensual, the idle or dissipated ! 
before such this apparition of divinity will not appear. 
But we will proceed. — Beauty is one of the ministering 
fairies, ever tending the path of the intellectual and imagi- 
native. By the old beechen tree, in the rays of the sun, in 
the hues of the dark portentous clouds, midst the dazzling 
figures of the mazy dance, in the long and sombre corridor, 
or gloomy aisle, on battlements, or mountain's brow, rolling 
on the bosom of the lonely sea, in the wild wind's voice, 
in the presence of the perfume of gentle violets, or the 
ruby rose, there sits beauty — to win, to excite, to 
delight her devotees, to charm, to soothe, to dignify and 
absorb, to lead to honour, love, and charity. This heavenly 
guest will wait on earth, till all the sons of man are gone ; 
and then will be wafted in her golden car to join in 
eternal praises in the unseen world. Beauty, like all 
divine gifts, is everywhere to be seen by the eye of 
the faithful admirer of nature ; and, like all spirits, she 
is scarcely to be described by words. Her countenance 
and mien, her path, her hue and carriage, often surpass 
expression, and soothe the enthusiast into reverie and 
silence. Sometimes she is personified by the graceful 
lily, sometimes by the dashing cataract, at times in 
eventide's rays, or on the trembling leaf of autumn; 
sometimes in the painter's reveries, or the sculptor's 
exalted conceptions ; in the halo of childhood she frolics 
with innocent playfulness ; but one of her earthly thrones is 
in woman's eye and fashion : there are the unchangeable 
lines and contour of beauty. There is beauty midst a host 
of courteous associates, who execute her commands; thence 



112 THE LANGUAGE 



her ministers conspire to develop the life and glory of the 
grand emotions of the beautiful ; they sit around their 
queen, and play on harps of heavenly note, which resound 
over mountain and valley, and in sweet songs they teach 
that beautiful objects must be in harmony with the whole 
economy of our nature, and that happiness is the state of 
feeling proper to the mind, when acting in concert with its 
own actual constitution. They tell that man's native right 
is to be happy ; that in him there is a perennial spring of 
enjoyment, and all his search after, and reflections upon, 
beauty, are but the spirit's spontaneous suggestions, and 
the free outpourings of its nature. They teach man that 
he is surrounded by ties and alliances, which command his 
ardent affection and sympathy. They show that he is 
related to the physical world and its economy, which is 
ever creating agreeable or painful sensations ; that the 
moral world and its economy, are exerting their influence on 
almost all his actions ; that the Prince of the unseen world 
is ever appearing in the moral and physical world, and that 
these varied and august shadows of the Almighty evince 
to man that there is a beauty, awful and sublime, before 
which he must bow in love or in sorrow ; that his 
obedience will lead to the intrinsic peace and harmonious 
activity of all his faculties. There is a voice, as from a 
silver trumpet, which seems to say : — " Thou, man ! 
live in harmony with the physical world, and health shall 
be thine ; live in harmony with the economy of the moral 
world, and thou shalt wear virtue's chaplet ; live in 
harmony with thy Divine relation, and thou shalt at last 
be wafted to Eternity's realms, where thou shalt bask in 
peace, and listen to the voices of angels and archangels 
chanting the praises of beauty. The soul then yearns for 
the visitation of true beauty on earth, and at last it shall 
be steeped in reverie and contemplation of eternal 



OF THE EYE. 113 



beauty." There are on earth many appearances and 

expressions of beauty; but we may now consider our 
subject more closely. Most truly one of the temples of the 
Great Spirit is the physical fashion of man, from which, 
though much desecrated by passions and the festivities 
of the man of sin, the impress of Deity and the light 
of the lamp of heaven have not been wholly removed : 
the holy is ever holy. Amidst these ruins still remain the 
lines of the life of beauty. The chill of fear has passed 
through the trellis of the windows of the castle, and many 
a fair ornament has been thrown aside. The gallant pennon 
of divinity has been exposed to many a storm, and the 
warder's gate has been thrown into the fosse, the fair ladie 
of this manse has been frighted from her bowrie, and 
sorrow seems sitting on the high tower. Yet there is a 
voice, as from one travelling in his strength, with dyed 
garments from Bozrah; and it whispers, "I am here." 
Yes ! still remains beauty to mantle our being, to excite to 
noble and grand engagements, to rescue our minds from 
ignoble conceptions, to etherealize our spirits. But, say 
some, how shall we discern it, and what is its portraiture ? 
Let him, who is of a pure and meek spirit, reply ; let him, 
who loves his neighbour, reply ; let the child and disciple 
of love and charity reply; let the faithful, who can see 
heaven's towers, reply ; let the learned and lover of 
truth reply ; let the imaginative and feeling heart reply. 
And the trumpets and shawms of angels will echo through 
endless space — God is beauty ; all his works are beauty ; 
his voice, his words, his providence, his presence (even as 
he appears in our fallen nature) is beauty; the very presence 
of holiness. Hark to His servants, — the north, the south, 
the east, the west, — how grand and beautiful is their 
voice. Look upon his mountains and vallies. But thou 
unslumbering sea, why bay my soul ? Before thy shrine 



114 THE LANGUAGE 



I do confess thou art divine, and in thy mighty, lonely 
path, thou hast announced thy beauty. By thy shores 
thou tenderest thy fashion for the infant's joyance, whilst 
thy tiny children play in fringed beauty and crested 
glory'. In thy bosom thou hidest the bold mariner, the 
smile of love, the beam lit up for home, the gold of 
Ophir and the chains of slaves, the task-master and the 
weary, the frantic, the timid, and the bold, — all lie in thy 
humid bowels, — on thy moist dank pillow Death triumphs, 
where fretted pinnacle and coral reef form the dull sepul- 
chre ; whilst all the trance of time shall pass and deafening 
waves roll on. There on the couch with Death some lie, 
in mournful beauty clad, so blanch, so still, so full of peace, 
until the resurrection comes, and the command goes forth : 
for thou, even thou, mighty spirit of beauty, thou sea, 
grand and august as thy being has been, must yield and 
give up all thy treasure. How awful and how beautiful 
this magnificent array ! hark, the mighty spirits rush forth 
from the tomb of waters, so long pent; here is beauty, 
— see, they break the gate of Death, and immortality 
put on! this is beauty! This is one of its apparitions, 
this also is God ! He, the ever mighty one, " moves in a 
mysterious way, his wonders to perform;" his paths to take, 
his declarations, his denunciations, and renunciations to 
make ; his threats, his promises to avow, and still behind a 
threatening cloud, his beauty clad in mercy is oft to be dis- 
cerned. Again, in the morning of our days, when the feelings 
are young, then no listlessness arises, none of the best and 
tenderest; the most acute and sensitive of our feelings have 
been seared. Then we look upon treasures of nature, the 
pallid moon, the glittering stars, and perceive a vision of 
the beautiful in splendour and grandeur, living and burning 
on the very lines of beauty. How soothing is this presence 
to the mind of the virtuous and noble ! what holy com- 



panionship ! how many sweet reveries are held within the 

glistening halo of this enchantment ! But, alas, there are 
seasons when these elements of the eternal are oppressive 
and overwhelming. How awful is their loveliness and 
grandeur when encountering sin ! then the conscience is 
smitten — ashy pallor spreads over the countenance — the 
eye sinks — the iris is turgescent — the sclerotica is covered 
with a thick film — the blood of sin seems congealed in the 
presence of the great Spirit of night : then to be alone with 
even but one apparition of beauty is the depth and darkness 
of woe. Nature changes not — the queen of night rides forth 
in her silver chariot; onward she moves in obedience to the 
laws of beauty. How placid is all nature's beauty ? The 
mendacious attractions of the world may distract our 
affections, and we may wander far from beauty, but we 
shall see its glory again. 

To us the arch of the rainbow, its shape, its evanescent 
colours (blending so softly that none may tell how far 
the first bright tint extends, or whence it comes), are all 
emanations of beauty. We follow the lonely sea in its 
wanderings ; we see God ; we worship Him in a thousand 
ways, and at a thousand times unseen by man. We live a 
life of idealism in relation to his presence and his ministering 
servants. We dream of his dire indignation and approving 
consolations. We see Him the Author of beauty, the centre 
of a boundless sphere ; and we bow in veneration. 'This is 
another expression of beauty — an apparition of Divinity. 
As time advances, youth recedes ; the world presents its 
fashions and mistaken presentiments of beauty, and on them 
we gaze awhile and are entranced. We are too soon 
disposed to believe, and become lovers of science. We 
are told, the principles of these our new delights are to 
be known and reasoned upon, so that we may set up a 
carnal judgment and appreciation, free from any Divine 



116 



THE LANGUAGE 



dictation. We admire and learn, until we become drunken 
with these viands. Too soon we become devotees at the 
altar of science, we climb its heights, partake of its labours, 
and sit down at the table of its chieftains. We become at 
length satiated, and perceive the vanity of earthly science 
and its impotence to afford happiness. We again see 
the apparition of Deity, and return to the altar of beauty 
and holiness. The unchanged and unchangeable face of 
nature, its sun and moon, its stars, its mountains, its 
rivers, the unfathomable sea, again present themselves, and 
we dwell over them, regarding them as associates of our 
first love. We are led to examine our own fashion and 
being, and we discover assimilations of contour and shape 
which yield pleasing emotions. There we perceive the same 
line of beauty, which is the source of so much delight, 
whilst reflecting on the shape of the world, the fashion 
of the sun, the moon, and their starry children. We 
admire the structure of the various organs which minister 
to our existence, intelligence, and life ; for we then 
recognize the same lines and shapes, which have yielded 
us so much pleasure in the heyday of our youth. The 
line of beauty is the line of life ; the line of power 
and motion ; the very perfection and being of beauty is 
expressed in the sphere or its features, which are curves : 
to behold it is to delight ; and to describe its effect on 
our general nature demands a cultivated and unprejudiced 
mind. As we have said, beauty rests in her bower amidst 
the petals of the lily ; high on the arched heaven ; by 
the rocky shore where billows roll ; surrounds the golden 
sun, and beams in the softer radiance of the moon ; in the 
smile of childhood ; in woman's form, and in the globe of 
sight. There she sits in majesty eternal, repeating in 
every age and clime, — " The light of the body is the eye." 



APPENDIX. 



How variously do philosophers explain the nature of light ! Some 
have called it the traction of lines in radial action. That a ray of 
light is a radius, having two extremities, different from each other, 
one turned towards the sun, and one coming in contact with the 
planets ; and that that light is a splitting, rending action : that it is 
the life of ether. Some have said (strangely) that the sun is an 
undulating sea of flame, and that comhustions or electrical processes 
of light, appearing to us as light, occur in its atmosphere, and that 
the velocity of rotation hurls about the light particles, which are 
again, by an unknown route and unknown means, brought back 
to the sun. 

Some consider that the sun appears to have only the density of 
water, being four times less dense than the earth, and, therefore, 
nearly in the condition of water ; and that it gives out light merely 
because it is water ; for as such it is in eternal motion, and is moved 
by the planets. That at every point of the sun, opposite to wlii< h a 
planet stands, there is flow ; there illumination is stronger. That 
there must be several seas of light upon the sun opposite to the 
planets, and that there is nowhere a perfectly quiescent point in the 
sun. These philosophers remind us the ebb and flow of the si 
out light ; and that, as they say, the sun is a body trembling through 
its mass, and thereupon phosphorescent. 

We trust we shall not fatigue by some further observations, — for 
instance, colour or decomposition of light fairly claim a few words. 
Light cannot enter unchanged into mutual operation with matter. 
The tension of ether changes itself in matter, and this change is a 
debilitation of the tension of ether ; and, lastly, its complete cessation. 
There can, therefore, be no absolutely transparent matter, the ether i mly 
being the absolutely transparent. The denser a material is, by so much 
the more will it be capable of suppressing in itself the tension of light. 
This suppression or expiration of the [tension of light in bodies baa 
received the name of absorption. This absorption is not a mechanical 
adherence of the particles of light in the pores of bodies — there 



118 



APPENDIX. 



pores for light, and this requires none — this absorption is regarded as 
a retrogression of light into the indifference of ether ; indeed, light in 
conflict with matter does not continue light, but becomes a mean 
condition between light and darkness. 

Colour orginates only in the confinity of light and dark, or in the 
limit between the two great antipodes, white and black. Darkness is 
the cause of colours. There is nothing visible but colour, — the coloured 
matter. The non-corporeal itself is invisible ; darkness is the cause 
of visibility ; were there no darkness there would be no world for the 
eye. Colours are only illuminated darkness. In the limit between 
light and dark there is neither white nor black, but their possible 
mediate conditions or the proper colours, the material tensions of ether. 
Colour agrees essentially with the elements, and is itself nothing 
different from element. Fire is in its essence red, as being the 
impartient of light and heat ; air is in its essence nothing else than 
the blue ether, by virtue of its being gaseous ; water is the green ether ; 
earth the yellow. If the ether is tensed, it then becomes red or fire ; 
if it attains its blue stage it becomes air ; at the green stage water ; 
upon the yellow, earth. 

The elements are only gradations of light — colours. They have, 
therefore, been formed according to the laws of light ; for colours are, 
without doubt, the legitimate developments of light. Eed, as being 
the solar, or fire colour, ranks parallel with oxygen ; the more powerful 
indeed the combustion, the more powerful is the oxidation, and by so 
much redder the flame. Matter also becomes red through oxidation. 
The red vanishes lastly into white, and thus the highest oxidation is 
white. Eed is the warmest colour, and blue the coldest. Eed retains 
its presence to the eye at a far greater distance than blue and green ; 
though it is true an effect produces a colour of blue at a distance 
beyond the red, but this is only atmospheric effect. The greatest 
distance creates white. The sun in the firmament may be viewed as 
the bright opening in a darkened chamber. Colours, are, therefore, 
nothing but images of the sun in darkness ; self-manifestations of the 
sun in dark matter. A point of light thrown into darkness is colour. 



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